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At a time when few reviewers and critics were taking the study of film seriously, Robin Wood released a careful and thoroughly cinematic commentary on Ingmar Bergman’s films that demonstrated the potential of film analysis in a nascent scholarly field. The original Ingmar Bergman influenced a generation of film scholars and cineastes after its publication in 1969 and remains one of the most important volumes on the director. This new edition of Ingmar Bergman, edited by film scholar Barry Keith Grant, contains all of Wood’s original text plus four later pieces on the director by Wood that were intended for a new volume that was not completed before Wood’s death in 2010. In analysing a selection of Bergman’s films, Wood makes a compelling case for the logic of the filmmaker’s development while still respecting and indicating the distinctiveness of his individual films. Wood’s emphasis on questions of value (What makes a work important? How does it address our lives?) informed his entire career and serve as the basis for many of these chapters. In the added material for this new edition, Wood considers three important films Bergman made after the book was first published—Cries and Whispers, Fanny and Alexander, and From the Life of the Marionettes—and also includes significant reassessment of Persona. These pieces provocatively suggest the more political directions Wood might have taken had he been able to produce Ingmar Bergman Revisited, as he had planned to do before his death. In its day, Ingmar Bergman was one of the most important volumes on the Swedish director published in English, and it remains compelling today despite the multitude of books to appear on the director since. Film scholars and fans of Bergman’s work will enjoy this updated volume.

This book explores the crucial role Shakespeare’s play has performed in European culture in the long 20th century.The story of regicide, ambition, civil war and tyranny has resonated across a continent ravaged by armed conflict and riven by competing political and ideological systems. Equally, the play’s acute explorations of gender dynamics, mental breakdown, guilt and suicide have spoken to the psychological and interpersonal pressures of European life in the ‘Age of Extremes’.This unique book gathers expert contributors from across the continent to explore adaptations of the play from 1870-2020. Each chapter explores the fascination Macbeth has exerted in a remarkable variety of places and contexts, from Stalin’s Russia to contemporary Catalonia, from the Scottish tourist industry to the French radio airwaves. Throughout, we see how European adaptors have been liberated from the demands of fidelity to the original Anglophone text. From a European perspective, Macbeth offers a powerful myth that is both flawed and somehow indispensable. It demands to be re-told but it also requires fixing through adaptation.This collection is distinctive in the sheer range of adaptations it considers: while the stage is represented throughout, we also learn about Macbeth on radio, in novels, in poetry, in graphic art and photography, adapted for local political and personal resonances in private such as letters and diaries, but also in the public spheres of newspaper columns and high-profile court cases. Anyone who reads this book will never see the play in the same way again.

This collection offers new and insightful perspectives on Ingmar Bergman’s work as a film and theatre director as well as writer of fiction. Ingmar Bergman’s rich legacy as a film director and writer of classics such as The Seventh Seal, Scenes From a Marriage, and Fanny and Alexander has attracted scholars not only in film studies but also of literature, theater, gender, philosophy, religion, sociology, musicology, and more. Less known, however, is Bergman from the perspective of production studies, including all the choices, practices, and routines involved in what goes on behind the scenes. For instance, what about Bergman’s collaborations and conflicts with film producers? What about his work with musicians at the opera, technicians in the television studio, and actors on the film set? What about Bergman and MeToo? In order to throw light on these issues, art practitioners such as film directors Ang Lee and Margarethe von Trotta, film and opera director Atom Egoyan, and film producer and screenwriter James Schamus are brought together with academics such as philosopher and film scholar Paisley Livingston, musicologist Alexis Luko, and playwright and performance studies scholar Allan Havis to discuss Bergman’s work from their unique perspectives. In addition, Ingmar Bergman at the Crossroads provides, for the first time, in-depth interviews with Bergman’s longtime collaborators Katinka Faragó and Måns Reuterswärd, who both have first-hand experience of working intimately as producers in film and television with Bergman, covering more than 5 decades. In an open exchange between individual and institutional perspectives, this book bridges the often-rigid boundaries between theoreticians and practitioners, in turn pointing Bergman's studies in new directions.

When a film is not a document, it is a dream...At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood." Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, "The Magic Lantern". More grand mosaic than linear account, Bergman's vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood's golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, "The Magic Lantern" is a window to the mind of one of our era's great geniuses.

Laura Hubner is one of the first critics to analyse the elements of 'illusion' in key films by Bergman and relate these to cultural and artistic influences on his creative output, the phenomenon of Bergman as 'art film' director, and debates about modernism, postmodernism and emerging feminist discourses on gender and multiplicity.

This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman's conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman's films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman examines these themes cinematically, through close analysis of eight films: well known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and important but lesser known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage.

This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman's conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman's films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman examines these themes cinematically, through close analysis of eight films: well known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and important but lesser known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage.

This book is a revised and expanded version of Ingmar Bergman: Four Decades in the Theatre, by the same authors, published more than ten years ago. The developments that have occurred in the interim, clustered around Bergman's triumphant return to the Royal Dramatic Theatre in Stockholm after years of self-imposed exile, have profoundly altered the course of this extraordinary career. Still the only book of its kind in English, this amply illustrated study uses detailed and comprehensive analyses of a range of Bergman's productions to chart the full scope and depth of his achievement in the theatre, from the early Macbeth in 1944 to his new, widely acclaimed performance of Ibsen's Peer Gynt in 1991.

"He always is very, very close to the camera, and he is terribly inspiring. I don't know what his magic is, but it is something that makes you want to give everything you have. He has respect for actors and for everybody. A bad director very often doesn't have that respect." Liv Ullman's words about Ingmar Bergman hint at the consummate director he was, one who knew the business, the strengths and weaknesses of actors and crews, the arrangement of the set, the framing of the camera, and all other particulars of the fine art of directing. This work presents Bergman's life and work, beginning with his youth in Uppsala, Sweden, and covering his formative years, his development as an artist, and his career as a world-renowned director. A brief synopsis for each of Bergman's films is provided, with such information as producer, screenwriter, cinematographer, editor, art director, music sound credits, running time, casts, Bergman's own comments, and the reactions of critics.

Acknowledged as one of the greatest filmmakers of this or any other time, Bergman has with few exceptions written his own screenplays-an uncommon practice in the film industry-and for this practice critics refer to him as a "literary" filmmaker: In this work, Gado examines virtually the entire range of Bergman's literary output. While treating the matter of the visual presentation of Bergman's films, Gado concentrates on story and narrative and their relationship to Bergman's personal history.Gado concludes that whatever the outward appearance of Bergman's works, they contain an elementary psychic fantasy that links them all, revealing an artist who hoped to be a dramatist, "the new Strindberg," and who saw the camera as an extension of his pen.

Psychoanalytic Perspectives on the Films of Ingmar Bergman presents a contemporary Freudian-Lacanian assessment of this classic director. This collection is the first to bring together this unique psychological perspective on Bergman’s work.While Bergman and his films have been written about throughout the decades, until now there has not been a collection anthologizing Freudian-Lacanian perspectives on his work. Vanessa Sinclair brings together an international community of scholars and practicing psychoanalysts – some of whom are also filmmakers – to reflect on Bergman’s films, life, and work in philosophical, historical, and cultural contexts. They assess individual films in depth, compare multiple films, and focus on Bergman’s life and work in a cultural context. This book includes chapters on seminal films including Persona and The Silence.Psychoanalytic Perspectives on the Films of Ingmar Bergman will be essential reading for academics and students of film studies, psychoanalytic theory, and Lacan, and of great interest to psychoanalysts and psychotherapists.

Psychoanalytic Perspectives on the Films of Ingmar Bergman presents a contemporary Freudian-Lacanian assessment of this classic director. This collection is the first to bring together this unique psychological perspective on Bergman’s work.While Bergman and his films have been written about throughout the decades, until now there has not been a collection anthologizing Freudian-Lacanian perspectives on his work. Vanessa Sinclair brings together an international community of scholars and practicing psychoanalysts – some of whom are also filmmakers – to reflect on Bergman’s films, life, and work in philosophical, historical, and cultural contexts. They assess individual films in depth, compare multiple films, and focus on Bergman’s life and work in a cultural context. This book includes chapters on seminal films including Persona and The Silence.Psychoanalytic Perspectives on the Films of Ingmar Bergman will be essential reading for academics and students of film studies, psychoanalytic theory, and Lacan, and of great interest to psychoanalysts and psychotherapists.

A Companion to Ingmar Bergman"This collective project brilliantly launches Bergman studies forward at least a generation or two. The 35 contributors comprise a Who's Who of prominent and rising-star Bergman scholars diversely and globally."—Arne Lunde, UCLA, author of Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema (2010)"Bergman’s films are not static. They changed dramatically over the filmmaker’s lifetime, and so too our ways of critically analysing them. This superb Companion lays out the tracks of understanding Bergman today."—Adrian Martin, Film Critic, author of Mysteries of Cinema (2018)The first book in English to address Ingmar Bergman's cinema through a broad array of classical and contemporary approaches.A Companion to Ingmar Bergman brings together 32 original essays by established scholars and exciting new voices in the field. Representing a uniquely wide range of approaches in academic film studies and beyond, the chapters that make up the volume illuminate a body of work that changed the way cinema is created, defined, experienced, understood, and interpreted.Thematically organized into four parts, the Companion discusses gender exploration and self-representation in Bergman's cinema, draws evolutionary insights from The Seventh Seal, explores existential feelings and religious iconography in the early 1960s trilogy, journeys through the filmmaker’s island landscape in the context of cinematic tourism, and much more. Throughout the book, hailing from a range of global contexts and backgrounds, the authors provide fresh insights into a deeply complex and challenging film artist, often from unexpected perspectives.An innovative mixture of new scholarship and fresh, updated employments of older approaches, A Companion to Ingmar Bergman: Examines Bergman's cinema through methodologies as diverse as Film-Philosophy, Star Studies, Bisexual Studies, Tourism Studies, Transgender Studies, and Evolutionary Studies.Delves into the director's early period in the late 1940s–1950s through his most challenging modernist period in the 1960s, and into the 1980s.Engages with films long considered problematic by commentators plus unproduced Bergman screenplays, including All These Women, "The Petrified Prince", Face to Face, and From the Life of the Marionettes.A Companion to Ingmar Bergman is a must-read for advanced undergraduate and graduate film students, postgraduate scholars, college and university lecturers and researchers, particularly those interested in the application of classical and modern approaches to the study of twentieth-century cinema, and Bergman fans around the world.

This book explores connections between the diverse ideas of Melanie Klein, Jean-Paul Sartre and Ingmar Bergman. These ideas are explored in relation to their shared focus on imagination and through detailed readings of a number of Bergman's key films.