Open Access (free)
An enduring legacy

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.

The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Media Database and the Swedish Film Database, an online catalogue containing information on almost 80,000 Swedish films and international productions screened in Swedish cinemas. Because the archivists do not work with single tags but on the basis of a full text search, LGBTQ-​related terms need to be part of the text that describes the film. Since this text is often retrieved from older information to be found in the databases mentioned above, the discursive space for the articulation of LGBTQ identities is very limited. For instance, before 2017, when an updated

in The power of vulnerability
Ingmar Bergman’s filmmaking
Laura Hubner

. The first one, which is part of an extended dream sequence, occurs about two-thirds of the way through the film when Isak dozes off to sleep while his daughter-in-law Marianne has taken over the driving, and he is ‘haunted by vivid and disturbing nightmares’. It is pertinent that the role of Isak is played by Victor Sjöström, the esteemed actor and illustrious director from Swedish cinema’s Golden Age. Isak, like Sjöström, has reached the pinnacle of his long, hard-earned career, and is at the final

in Ingmar Bergman
Anu Koivunen
Katariina Kyrölä
, and
Ingrid Ryberg

Institute takes centre stage, also attracting much international attention. The current CEO Anna Serner has, since launching a programme for gender equality in Swedish cinema in 2013, held seminars at several top-​tier film festivals and inspired policymaking within the British Film Institute and Eurimages.4 In the midst of the #MeToo campaign, Serner announced that the institute would launch an education programme about sexual harassment, mandatory for all production companies seeking its support (Keslassy, 2017). Against the extraordinary institutionalisation of

in The power of vulnerability