This article about Federico Fellini’s Amarcord (1973) and Ingmar Bergman’s Fanny and Alexander (1982) concerns one aspect of the directors’ childhood memories, namely how authoritarian institutions are used to disrupt otherwise fairly idyllic and nostalgic lives and worlds. The films blend detailed memories with playful fantasies, combine experiences of the directors’ alter egos, Titta and Alexander, with rituals of family and larger communities in the provincial cities of Rimini and Uppsala. In each film, bitter memories are given a central role. This article explores the similarities of these bitter memories, as they are imagined in the mature auteurs’ last exceptionally successful films.
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机译：这篇有关费德里科·费里尼（Federico Fellini）的《阿玛科德（Amarcord）》（1973）和英格玛·伯格曼（Ingmar Bergman）的《范妮与亚历山大》（Fanny and Alexander）（1982）的文章涉及导演们童年记忆的一个方面，即如何利用威权主义体制来破坏原本相当田园和怀旧的生活和世界。这些影片将详尽的回忆与顽皮的幻想融为一体，将导演的另类自我，蒂塔（Titta）和亚历山大（Alexander）的经历与在里米尼（Rimini）和乌普萨拉（Uppsala）省市的家庭和较大社区的仪式结合在一起。在每部电影中，痛苦的回忆都扮演着中心角色。本文探讨了这些痛苦的回忆的相似之处，就像成熟的导演在最后一部非常成功的电影中所想象的那样。
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