other films, this essay positions his masterpiece in terms of what came after
it and what went before. It shows how Bergman visualized his central theme of identity
by way of reflections, splitting the screen, and shadows.
Films Referenced in This Piece:
Poltergeist (Tobe Hooper, 1982)
Persona (Ingmar Bergman, 1966)
Orphée (Jean Cocteau, 1950)
The Truman Show (Peter Weir, 1998)
Shadows (John Cassavetes, 1959)
Mulholland Drive (David Lynch, 2001)
The Talented Mr. Ripley (1999)
Don’t Look Back (Marina de Van, 2009)
Don’t Look Now (Nicolas Roeg, 1973)
Apocalypse Now (Francis Ford Coppola, 1979)
Vertigo (Alfred Hitchcock, 1958)
Performance (Nicolas Roeg, Donald Cammell, 1970)
Stardust Memories (Woody Allen 1980)
Old Boy (Park Chan-wook, 2003)
The Double Life of Veronique (Krzysztof Kieswlowski, 1991)
The Tenant (Roman Polanski, 1976)
Talk to Her (Pedro Almodovar, 2002)
The Crying Game (Neil Jordan, 1993)
Dead Ringers (David Cronenberg, 1988)
Minority Report (Steven Spielberg, 2002)
Les Biches (Claude Chabrol, 1968)
Black Swan (Darren Aronofsky, 2010)
3 Women (Robert Altman, 1977)
Angel Heart (Alan Parker, 1987)
Splice (Vincenzo Natali, 2009)
The Silence of the Lambs (Jonathan Demme, 1991)
Fight Club (David Fincher, 1999)
Heat (Michael Mann, 1995)
Dr. Jekyll & Mr. Hyde (Victor Fleming, 1941)
Psycho (Alfred Hitchcock, 1960)
Press Play Video Blog 
Very nicely done. I was expecting to see some Mullholand Drive, myself. Also, you should check out the final scene of the Ox Bow Incident for some Persona prelude
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Great video, it also appears in the video a Buñuel movie, Ese oscuro objeto del deseo.
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What about Under the Skin and The Shining?
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