Ingmar Bergman’s filmmaking
Laura Hubner

Over the years, Ingmar Bergman has been hailed by journalists as a visionary director, with the capacity to convey to an international audience—via films as diverse as The Seventh Seal ( Det sjunde inseglet , 1956), Persona (1966) and Fanny and Alexander ( Fanny och Alexander , 1982)—insights into the times when the films were made, as well as into more universal concerns. Myrna Oliver’s headline in the Los Angeles Times , ‘Cinema’s Brooding Auteur of the Psyche: His Work Opened the

in Ingmar Bergman
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Ian Scott and Henry Thompson

, not even just an auteur. Rather, he has come to represent an adjective that says something about the era of Hollywood filmmaking that he has worked in, and even more about late twentieth and early twenty-​first-​century American history that he has repeatedly visualised and constructed on screen. All of it has been accompanied by a running commentary virtually unheard of with regard to other filmmakers. ‘[H]‌e has attracted greater controversy and more passionate criticism than any of his contemporaries. The plaudits and condemnations come in almost equal measure

in The cinema of Oliver Stone
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Theoretical debates and the critical erasure of Beckett’s cinema
Matthijs Engelberts

that name – is a work of literature. By 1965, auteur theory was already well established in European cinema, and Beckett, as a literary figure, was not exactly the sort of auteur that those who called for directors who ‘wrote with a camera’ (as Alexandre Astuc, one of the first defenders of auteur theory, put it evocatively but also somewhat ambiguously) had in mind. Newspapers and magazines: the man with a movie camera, a pen or a hat? When one considers the corpus of articles in its entirety, it becomes apparent that the critics seem to skirt around the issue of

in Beckett and nothing
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Jeffrey Pence

single ‘video work’ all by itself . . . there are no video masterpieces, there can never be a video canon, even an auteur theory of video . . . The discussion, the indispensable preliminary selection and isolation, of a single ‘text’ then automatically transforms it back into a ‘work’, turns the anonymous videomaker back into a named artist or

in Memory and popular film
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Gill Rye and Michael Worton

, confirmed her status as le phénomène Angot and l’enfant terrible of the French literary scene. Reading and writing subjects If the events of  contributed enormously to the move towards a focusing on otherness and difference as the defining issues for social and personal understanding and development, they also catalysed the dramatic loss of authority that would lead both to Barthes’s seminal essay, ‘La mort de l’auteur’ (), which ends with the proclamation that ‘la naissance du lecteur doit se payer de la mort de l’Auteur’ (‘the birth of the reader must be at the

in Women’s writing in contemporary France
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Ian Scott and Henry Thompson

office viability and away from the creatively free hand offered to auteurs in the 1970s. By 2010, as Stone discovered, even auteurs with final cut in their contracts needed to push back against executive encroachment on the directing process. More than that, Stone’s world view surmised that the financial meltdown and philosophy of money that he had identified as Mo ney America’s talismanic totem for so long through his career, had further social and cultural ramifications for the era in which America now found itself. For in his follow-​up movie of 2012, Savages

in The cinema of Oliver Stone
Screenwriting from notebooks to screenplays
Anna Soa Rossholm

, and playful interaction with his fictional characters. Bergman himself compared artistic work with children’s play, and the playful side of his personality has been highlighted in portraits of Bergman the auteur. Stig Björkman’s documentary film Bilder från lekstugan ( Images from the Playhouse , 2009) is based on the short films Bergman made while shooting his feature films, and it shows Bergman joking in front of the camera and with other members of the film crew. Marcus Lindeen’s stage play

in Ingmar Bergman
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An introduction
Erik Hedling

world’s most celebrated filmmakers. After being hailed as one of the great auteurs by Parisian film magazine Cahiers du Cinéma ’s famous critics François Truffaut and Jean-Luc Godard and his breakthrough at the Cannes festival in 1956, scholarly writings on Bergman’s films became commonplace. The very first books on Bergman, by Jean Béranger and Jacques Siclier, were published in French in the late 1950s. 4 However, the most influential piece of writing published on Bergman at this time was aspiring

in Ingmar Bergman
The auteur as an ekphrastic ghost
Maaret Koskinen

to anoint Bergman as a master of words, of writing. That is to say, as a ‘real’ author, and not ‘just’ an auteur. In fact, the presence and importance of photographs in and for Bergman’s stories are already emphasized in the prologue to The Best Intentions : The Åkerblom family were great ones for taking photographs. After my father’s and mother’s deaths, I inherited a marvelous collection of albums, the earliest dating from the middle of the nineteenth century, the

in Ingmar Bergman
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The early British films of Joseph Losey
Neil Sinyard

work. In the critical parlance of the time, Losey was the one auteur of the British cinema. Of course, not everyone would have agreed with the Movie assessment of British film at this time, though it was undoubtedly influential. Nevertheless, in a period when cinema was entering what I would call its modernist phase and releasing an explosion of artistically challenging work from, for example

in British cinema of the 1950s