Open Access (free)
An enduring legacy
Editor: Erik Hedling

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.

Open Access (free)
Ingmar Bergman, Henrik Ibsen, and television
Michael Tapper

) 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 Henrik Ibsen. 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

in Ingmar Bergman
Fanny and Alexander in Swedish politics
Erik Hedling

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. 43 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. 44 Henrik Ibsen’s influence on Bergman is

in Ingmar Bergman
Birgit Lang

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 Henrik Ibsen, 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

in A history of the case study