This book on Swedish filmmaker Ingmar Bergman contains eighteen new scholarly chapters on the director’s work, mainly in the cinema. Most of the contributors—some Swedish, others American or British—have written extensively on Bergman before, some for decades. Bergman is one of the most written-about artists in film history and his fame still lingers all over the world, as was seen in the celebrations of his centenary in 2018. The book was specifically conceived at that time with the aim of presenting fresh angles on his work, although several chapters also focus on traditional aspects of Bergman’s art, such as philosophy and psychology. Ingmar Bergman: An Enduring Legacy thus addresses a number of essential topics which have not featured in Bergman studies before, such as the director’s relations with Hollywood and transnational film production. It also deals at length with Bergman’s highly sophisticated use of film music and with his prominence as a writer of autobiographical literature, as well as with the intermedial relations to his films that this perspective inevitably entails. Finally, the book addresses Bergman’s complex relations to Swedish politics. Many different approaches and methods are employed in the book in order to show that Bergman remains a relevant and important artist. The analyses generally focus on some of his most memorable films, like Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, Persona, and Fanny and Alexander; but some rarer material, including Hour of the Wolf, The Lie, and Autumn Sonata, is discussed as well.
) was also used by some critics to portray a
social-democratic utopia turned dystopian nightmare. 6
These interpretations aside, yet another image of the
writer-director emerges when one takes a closer look at Bergman’s
own works and statements. Bergman was an artist in the modernist and
cultural-radicalist tradition of August Strindberg and HenrikIbsen.
This is evidenced by his attacks on social repression in those
institutions with which he was most familiar: the school in Frenzy
( Hets , 1944), the church
Lagercrantz was often critical of Bergman, he
could also be highly supportive of the filmmaker, as in the debate
regarding The Silence . See Hedling, ‘Breaking the
Swedish Sex Barrier’, pp. 24–25.
It should be noted that this masterful scene is
only included in the complete, five-hour version, which is the
version that was aired on Swedish television and elsewhere and
released on DVD by Artificial Eye.
HenrikIbsen’s influence on Bergman is
his investigations into the realm of literature
began a decade earlier than those in psychoanalysis, but his approach was
not quite as dull as suspected by twenty-first-century criticism.36
Much of Sadger’s early work on creative genius was devoted to the
representation of degeneration in modernist literature. In an article from
1896, he criticised Norwegian playwright HenrikIbsen, the founder of
modernism in theatre, for depicting heredity in a purely negative manner
as degeneration, and for giving no value to the role of education in the
play Nora. Furthermore