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.
. They have defined a relationship that can be characterised by what Cavell calls acknowledgment. They have discovered or invented some degree of faith in language. Last Year in Marienbad shows us, at its end, that this couple makes an escape while the husband attends a performance of a play called Rosmer . It would appear that this play alludes to HenrikIbsen's Rosmersholm (1886). If I am arguing that Marienbad is a film that thematises a gaining of faith in language, then Ibsen's Rosmersholm is very much a play concerned with losing faith in language
chapter is to subject naturalism, and Naturalism, to
critical scrutiny, to rescue it from the limitations of habit and to
consider how it might help in the analysis of selected productions of
one of the most adapted of nineteenth-century dramatists, HenrikIbsen.
Reciprocally, such an analysis might also show the potential of
television drama to negotiate a complex understanding of Naturalism as a
) 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 HenrikIbsen.
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
killings and the body politic.
See Spongberg, Feminizing Venereal
Disease , p. 155.
HenrikIbsen, Ghosts and Other Plays
(Harmondsworth: Penguin, 1964 ), pp. 21–102, p. 49. All subsequent references
are to this edition, and are given in the
Alain Resnais L'Année dernière à Marienbad was made in the autumn
of 1960. T. Jefferson Kline draws out the importance of an allusion in
L'Année dernière à Marienbad to Henrik Ibsen's play
Rosmersholm. Questions of death have haunted readings of
L'Année dernière à Marienbad. L'Année dernière à
Marienbad is certainly a film which plays with a timeless past, leading
Léo Bersani and Ulysse Dutoit, ever critical of the phase in Resnais's
filmmaking, to describe the film as 'a decadent period piece'.
From L'Année dernière à Marienbad, indeed, Resnais's films
are increasingly uncertain and indirect in their politics. It premiered at
the Venice Film Festival in 1961 and won the top prize, the Golden Lion.
Like Hiroshima mon amour, it was the product of a collaboration, this
time between Resnais and another experimental modem novelist, nouveau
romancier Alain Robbe-Grillet.
In this edited collection, scholars use a variety of methodologies to explore the history of stage plays produced for British television between 1936 and the present. The volume opens with a substantial historical outline of the how plays originally written for the theatre were presented by BBC Television and the ITV companies as well as by independent producers and cultural organisations. Subsequent chapters analyse television adaptations of existing stage productions, including a 1937 presentation of a J. B. Priestley play by producer Basil Dean; work by companies including the Royal Shakespeare Company, Stoke-on-Trent’s Victoria Theatre and the Radical Alliance of Poets and Players; the verbatim dramas from the Tricycle Theatre and National Theatre of Scotland; and Mike Leigh’s comedy Abigail’s Party, originally staged for Hampstead Theatre and translated to the Play for Today strand in 1977. Broadcast television’s original productions of classic and contemporary drama are also considered in depth, with studies of television productions of plays by Jacobean dramatists John Webster and Thomas Middleton, and by Henrik Ibsen and Samuel Beckett. In addition, the volume offers a consideration of the contribution to television drama of the influential producer Cedric Messina who, between 1967 and 1977, oversaw BBC Television’s Play of the Month strand before initiating The BBC Television Shakespeare (1978–85); the engagement with television adaptations by modern editors of Shakespeare’s plays; and Granada Television’s eccentric experiment in 1969–70 of running The Stables Theatre Company as a producer for both stage and screen. Collectively, these chapters open up new areas of research for all those engaged in theatre, media and adaptation studies.
of HenrikIbsen (WAIDH 366). In the same essay, however, Chatwin
mentions the advice given to him by Noel Coward at a dinner party held
by Anne Fleming: ‘Never let anything artistic stand in your way’ (366),
he told the young author. Chatwin’s work clearly conveys the influence
of this gnomic statement; he was never a writer whose art was corralled
by the strictures of literary form, fashion or period. Chatwin wrote the
books he wished to write; one need only glance at the From the Notebooks section in The Songlines to perceive the iconoclasm of his
Producing theatrical classics with a decorative aesthetic
HenrikIbsen’s The Wild Duck (21 March 1971) for particular
praise, despite considering it ‘a most eccentric
production’ with ‘the oddest interpretation’
(Drabble 1975a : 17)
Messina’s stated intention for the BBC Television
Shakespeare project — a unique complete series of
all thirty-seven Shakespeare plays (BBC2, 1978–85)—was to
represented and revealed.
In order to appreciate the strategies employed by feminist playwrights,
it is vital to understand Victorian theatrical conventions and the innovative techniques introduced by the first performances of HenrikIbsen’s plays.
Melodrama, the central theatrical mode of the nineteenth century, was rooted
in a cast of recognisable stock characters, and structured around complex plots
that climaxed in the revelation of guilt and innocence, with villainy unmasked
and virtue applauded.27 This fundamental structure can be seen deployed in a
host of plays