Famous Figures

Bergman's films - which he described as investigations of God's silence, the proximity of death, and the terror of genuine intimacy - and his documented belief that cinema is the only medium that can reproduce the rhythm of consciousness, reflect a Meaning orientation in which filmmaking is fundamentally a metaphysical inquiry.

Fellini's documented belief that his films were primarily about the relationship between memory, dream, and the construction of identity, and his consistent refusal to explain his imagery in favour of leaving audiences to encounter it directly, reflect a Meaning orientation in which cinema is a medium for the transmission of inner life.

Kurosawa's systematic use of cinema to examine moral complexity - the unreliable testimony of Rashomon, the ethical cost of heroism in Seven Samurai, the meaning of a single life in Ikiru - and his documented belief that filmmaking is a practice of moral investigation, reflect a Meaning orientation.

Campion's documented use of cinema to explore female interiority - the texture of female desire, grief, and constraint in The Piano, Sweetie, and The Power of the Dog - and her belief that film can render states of consciousness that prose cannot, reflect a Meaning orientation applied to feminist aesthetics.