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.

Ann-Kristin Wallengren

In recent years, scholars have been devoting more and more discussion to Ingmar Bergman’s films from a musical perspective. 1 Considering that Bergman himself had a heartfelt love of music, and worked meticulously on the soundtrack of his films where music was often foregrounded as an essential conveyor of narrative information and the character’s emotions, it is odd that his film music has not come in for greater attention before. Of course, this circumstance has also been noticed by other writers. Per F

in Ingmar Bergman
Open Access (free)
An introduction
Erik Hedling

’s favourite composer was Johann Sebastian Bach, whose music appears in several Bergman films. Neumann also studies the large number of musicians among Bergman’s characters as well as those of his films that deal directly with music and musicians, such as Music in Darkness (1948), To Joy (1950), and Autumn Sonata . Film-music specialist Ann-Kristin Wallengren employs musical theory to account for musically charged scenes found in Bergman’s films. Referring to these scenes as ‘film-musical moments’, she

in Ingmar Bergman
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

; that is, how the styles of the past provide a powerful means through which a film can be branded and marketed to audiences. Often ignored in this process is the deployment of film music, and hence this chapter will focus in particular on the use of music as a significant means through which memories of the past may be evoked in the present. Mediated memory As many of the chapters in this book

in Memory and popular film
Open Access (free)
Classical music in the lms of Ingmar Bergman—a lecture-recital
Anyssa Neumann

, from Swedish folk songs to the ritual chanting of the ‘Dies Irae’, from phrases of solo Bach to fully staged operatic productions, Bergman’s film music traverses a wide range of genres and periods, both as sound and in words. Throughout his interviews and memoirs, music appears as anecdote, metaphor, description, and explanation, a mode of communication, and a glimpse into the mysterious realm beyond. In some cases music structures his films, frames the action, defines the form, or inspires the text; it can be a

in Ingmar Bergman
Musical meaning and musical discourse in Ingmar Bergman’s films
Per F. Broman

twenty years ago, the dominant trends in film-music scholarship included narrative theories as outlined by Claudia Gorbman 8 and others, and very little attention had been given to Bergman’s use of music. At that time, film-music scholarship focused primarily on traditional Hollywood scores by composers such as Bernard Herrmann and John Williams. I did not find that kind of research particularly helpful for Bergman’s films, as so many of them used pre-composed music. Instead, the key for me became archival materials

in Ingmar Bergman
Open Access (free)
The early British films of Joseph Losey
Neil Sinyard

this Sunday afternoon programme and its endearing routine of familiar ingredients: the theme tune from Carousel , the suave introductions of Peter Haigh, the star-struck news report of a breathy Peter Noble, the excellent edited highlights of current releases, Stanley Black often being contentious on film music, Gordon Gow invariably being astute on the new films. In this particular programme

in British cinema of the 1950s
Open Access (free)
The soundscape of Ingmar Bergman’s Smiles of a Summer Night
Alexis Luko

ones in photos or reading their letters. 23 Miguel Mera, ‘Is Funny Music Funny? Contexts and Case Studies of Film Music Humor’, Journal of Popular Music Studies 14 (2002), 91–113. 24 Thanks to Håkan Lundberg at Svensk Musik for providing me with Nordgren’s scores, which are reproduced with kind permission of the Nordgren estate. 25 I have not yet had success in identifying this tune. 26

in Ingmar Bergman
Andrew Bowie

avant-garde is a reflex of this situation, but the difficulty such art faces is that refusal to share the communicative means of a society can only ever be temporary. Modernist art of the twentieth century is always eventually incorporated into the commodity-sphere: even Schoenberg can be made use of in an aesthetically insignificant manner for film music. In order to understand the further implications of the questions outlined here one must retrace the philosophical story of their emergence. Much of what is debated in this area today can be better understood by

in Aesthetics and subjectivity
Nazima Kadir

campaign and allocated tasks, Frank often became upset, arguing that he felt silenced and excluded. Both women learned to appease Frank by immediately apologizing, patiently listening to his ideas, and then continuing with their earlier discussion once he felt comfortable. Frank is a Dutch squatter in his late twenties. Trained as a filmmaker, he works during the summer, filming music festivals around Europe, and lives off his summer salary during the rest of the year. Unusually for squatters, Frank grew up in

in The autonomous life?