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Ingmar Bergman, Henrik Ibsen, and television
Michael Tapper

The idea that Ingmar Bergman was a bourgeois film director was almost a truism in the Swedish cultural debates of the 1960s and 1970s. Maria Bergom Larsson summarized the contemporary view in the following quotation from her influential book Ingmar Bergman and Society of 1978: ‘He is ideologically tied to a traditional puritan Protestantism and a humanism with deep roots in Western bourgeois culture.’ 1 Although Bergman himself had time and again stated in personal interviews that he was a social

in Ingmar Bergman
Fanny and Alexander in Swedish politics
Erik Hedling

-Swedish film director and author Jörn Donner, claims to know that Bergman voted for Sweden’s liberal party (Folkpartiet) in the 1990s. See Jörn Donner, ‘Ett långsamt farväl till Ingmar Bergman’, Svenska Dagbladet , 14 July 2018, Arts section. 10 Ingmar Bergman, Artiklar, Essäer, Föredrag , edited by Håkan Bravinger, Christo Burman, Jan Holmberg, Maaret Koskinen, Per Stam, and Astrid Söderbergh Widding (Stockholm: Norstedts, 2018), p. 239. 11

in Ingmar Bergman
Open Access (free)
The principles of Observational Cinema
Paul Henley

his manifesto-essay, Colin Young cites with approval the practice of the French New Wave feature film directors, who, having studied classic Hollywood cinema in order to identify the conventions whereby it achieved its effects, then used those same conventions themselves but in a more low-key way, leaving much more to the imagination of the audience. ‘They were not so much unconventional as restrained’, Young comments. ‘They left us space to fill and we participated.’ In his view, this was the goal towards which Observational Cinema film-makers should also be

in Beyond observation
Open Access (free)
Films of re-enactment in the post-war period
Paul Henley

what Dunlop wanted them to do, so much so that in Dunlop's own words, at some points, he ‘almost became the film's director’. 16 Djarurru would also sometimes assist the subjects with traditional tasks, but as he was dressed in a ‘modern’ Australian manner, he would be careful to withdraw before the actual filming began. Dunlop describes an amusing instance in which Djarurru helped a young boy to make fire by rubbing a stick in dried kangaroo dung, but once the stick had begun to smoulder, he then stepped back and

in Beyond observation
Open Access (free)
A tool of environmental justice in Ecuadorian toxic tours
Amelia Fiske

, tourists, Chevron shareholders, politicians, and documentary film directors (Berlinger 2009). The students hold out their cell phones, recording as he tells them how his first child was born unable to develop properly and died a week after b­ irth – w ­ hich he explains was because his wife drank contaminated water while pregnant. This was an era, he says, when nobody knew that DAVIES & MAH 9781526137029 PRINT.indd 131 08/06/2020 15:32 132 Sensing and witnessing injustice p­ etroleum was toxic. Nobody understood what oil operations would come to mean for the region

in Toxic truths
Open Access (free)
Civil rites of passage
Sharon Monteith

‘sanitized version’ of the Civil Rights Movement had entered ‘the canon of consensus history’ and Fred Hobson, with his usual unruffled good sense, allows that ‘the Bad Old Days’ before ‘the South Triumphant’ are far more intriguing than the ‘New South’. 36 Whichever way film directors turned their cameras in the 1980s and 1990s, they failed to reshape our visions of the Movement, instead reflecting ‘our

in Memory and popular film
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

are also scathing remarks on guests’ wardrobe choices, added for entertainment value. Less news, more gossip column, the commentary points out that film director Guy Ritchie’s coat is unbuttoned, although ‘The Queen has let it be known … she rather likes morning coats to be buttoned.’ 62 Socialite Tara Palmer-Tomkinson’s dress is deemed inappropriate as it ‘really is off the shoulder’, unlike the

in The British monarchy on screen
Clare Woodford

. 7 Cavell, Conditions Handsome and Unhandsome , p. 110. 8 Cavell, Conditions Handsome and Unhandsome , p. 104. 9 Not in the sense of a film director controlling

in Cinema, democracy and perfectionism
The Marshall Plan films about Greece
Katerina Loukopoulou

, when he personally hired renowned fiction film director Frank Capra to work on the Why We Fight non-fiction film series (1942–5). Marshall even publicly defended his mobilisation of cinema at the Senate in response to accusations of trivialisation of the war effort. 5 While the Why We Fight series was produced for US audiences, the MP documentary films were commissioned exclusively for European ones, while a parallel and

in Global humanitarianism and media culture
Joy Damousi

reached the peak of its influence during the 1940s and 1950s, when artists such as film directors and actors came under its scrutiny. Investigations resulted controversially in the blacklisting of the ‘Hollywood Ten’, driving those in the film industry underground, or forcing them to leave the USA altogether.6 Under J. Edgar Hoover as leader of the Federal Bureau of Investiga­ tion, psychoanalysts were subject to the closest scrutiny. Inevitably the focus fell on foreign-born analysts, but even those not foreign-born, like Bernard, did not escape surveillance. As

in A history of the case study