We cannot verify your location
Browse Book and Journal Content on Project MUSE

Ingmar Bergman

Robin Wood

Publication Year: 2012

Published by: Wayne State University Press

Series: Contemporary Approaches to Film and Media Series


pdf iconDownload PDF (213.6 KB)
pp. 1-2


pdf iconDownload PDF (170.7 KB)
pp. 3-4


pdf iconDownload PDF (37.1 KB)
p. 6-6


pdf iconDownload PDF (14.8 KB)
pp. 7-8


pdf iconDownload PDF (42.5 KB)
pp. vii-viii

read more


pdf iconDownload PDF (45.3 KB)
pp. ix-xiv

Ingmar Bergman is the third book by influential film critic Robin Wood to be republished by Wayne State University Press within its Contemporary Approaches to Film and Media Series. Like Wood’s other early auteurist studies, Ingmar Bergman was an influential milestone when it was first published in 1969. ...

read more


pdf iconDownload PDF (51.8 KB)
pp. xv-xxii

In August 2006, Robin signed a contract with Wayne State University Press to reprint the monographs The Apu Trilogy, Ingmar Bergman, Claude Chabrol, and Arthur Penn with the idea that he would update each of the books. I don’t remember if it was suggested that he begin the project with the Bergman book; ...

read more


pdf iconDownload PDF (37.2 KB)
pp. xxiii-xxiv

Ingmar Bergman was originally published in the United States in 1969 by Praeger Publishers. © 1969 by Movie Magazine Ltd. “Moments of Release” appeared originally in the Times Educational Supplement (March 2, 1973). “Call Me Ishmael” appeared originally in Canadian Forum 41 (November 1983): 41–42. ...


pdf iconDownload PDF (39.1 KB)
pp. 1-3

read more

Introduction: Journeys: För att inte tala om alla dessa kvinnor

pdf iconDownload PDF (1.1 MB)
pp. 4-23

The first mental images that the name Ingmar Bergman conjures up are probably of the bizarre, the outlandish, the extreme, the abnormal, the picturesque; the apparitions of Death, the chess game, the flagellants, the witch burning in The Seventh Seal; the dream sequences of Wild Strawberries; ...

read more

Parents and Victims: Frenzy, Prison, Port of Call

pdf iconDownload PDF (478.6 KB)
pp. 24-33

In Hour of the Wolf the artist Johan Borg (Max von Sydow) describes a childhood punishment that has affected all his subsequent development: he was locked in a completely dark cupboard in which, he was told, there lurked a small creature who would bite his toes off. ...

read more

Innocence and Experience: Summer Interlude, Summer with Monika, Waiting Women

pdf iconDownload PDF (1.5 MB)
pp. 34-54

Of the Bergman films I have seen, Summer Interlude is the earliest in which one feels in the presence of a great artist, not merely a gifted, precocious, or ambitious one. The film shows an achieved mastery both in the overall line, the inner movement, and in the minutiae of mise-en-scène in which that movement finds local expression. ...

read more

Broken Dreams: Sawdust and Tinsel, Journey into Autumn

pdf iconDownload PDF (1.1 MB)
pp. 55-71

Sawdust and Tinsel and its immediate successor, A Lesson in Love, both have distinctive flavors unique in strength if not in kind in Bergman’s work; and they are at almost opposite poles. A Lesson in Love is arguably the warmest and funniest of all Bergman’s films, characterized by an overall atmosphere of relaxed good nature. ...

read more

Lessons in Love: A Lesson in Love, Smiles of a Summer Night, Wild Strawberries

pdf iconDownload PDF (1.8 MB)
pp. 72-98

A Lesson in Love is one of Bergman’s most underestimated and neglected films. Critics tend to dismiss it as a lightweight and marginal throw-off or as a sketch for Smiles of a Summer Night (though the film it more strikingly anticipates is Wild Strawberries). ...

read more

Doubts and Fears: The Seventh Seal, The Face, The Devil’s Eye

pdf iconDownload PDF (1.4 MB)
pp. 99-118

Gathering storm clouds pierced by sudden light as voices sing loudly and challengingly, then the film’s first clearcut image: filmed from a low angle a bird of prey hangs ominously, poised to swoop: “When the Lamb opened the seventh seal, there was silence in Heaven for the space of about half-an-hour. . . .” ...

read more

The Isaksson Films: So Close to Life, The Virgin Spring

pdf iconDownload PDF (725.6 KB)
pp. 119-132

The Ulla Isaksson films are easily the best Bergman made between Wild Strawberries and the Trilogy. At first sight they may appear to have little in common: a film set in a modern maternity ward, centered on the childbirth experiences of three women; a film set in the Middle Ages, ...

read more

The Trilogy: Through a Glass Darkly, Winter Light, The Silence

pdf iconDownload PDF (1.9 MB)
pp. 133-179

At the start of Through a Glass Darkly appear the words “To Käbi, My Wife”: as far as I know, this is the only example of a dedication in Bergman’s work. Diffident as the critic may be about prying into private matters and resolute to talk about the art, not the artist, with films as personal and often introverted as Bergman’s, ...

read more

Intermezzo: Now About These Women

pdf iconDownload PDF (287.4 KB)
pp. 180-185

Each Bergman film since Prison has its own defined individual character, but in obvious ways Now About These Women is unusually isolated from all the rest. It remains—until A Passion is released—Bergman’s only film in color, and it uses color to accentuate the deliberately artificial and stylized prettiness of the decor. ...

read more

The World Without, The World Within: Persona, Hour of the Wolf, Shame

pdf iconDownload PDF (4.4 MB)
pp. 186-238

Art comments on life. But does it? Even tragedy, traditionally held highest of the arts, with pretensions to illuminating the significance of human existence, leaves huge areas, and huge possibilities, almost untouched. Those areas have always existed, but in our century they have extended themselves enormously in the artist’s consciousness. ...

read more

Moments of Release: Cries and Whispers (1973)

pdf iconDownload PDF (507.0 KB)
pp. 239-244

It was The Seventh Seal in 1957 that established Bergman’s reputation internationally. At the time, the film appeared a vividly imagined medieval fresco with contemporary overtones. In fact, it also established a basic structure that has recurred intermittently in Bergman’s films ever since. ...

read more

Call Me Ishmael: Fanny and Alexander (1983)

pdf iconDownload PDF (202.1 KB)
pp. 245-251

Bergman’s statement that Fanny and Alexander will be his last film is doubtless to be understood more rhetorically than literally: he has already completed another. Admittedly he specified that it would be his last theatrical film, and the new one, After the Rehearsal, was made for Swedish television ...

read more

Persona Revisited (1994)

pdf iconDownload PDF (455.4 KB)
pp. 252-274

What follows is part addendum to, part correction of, the account of Persona I offered in my book on Ingmar Bergman almost thirty years ago. That account was written after my first few viewings of this inexhaustibly fascinating, disturbing, and difficult work and at the height of the widespread “Bergmania” in which I shared, ...

read more

From the Life of the Marionettes: Bergman, Sweden, and Me (2000)

pdf iconDownload PDF (803.6 KB)
pp. 275-306

Bergman’s films are, before everything else, personal. The most fully characteristic are intense psychodramas in which one feels one is watching an internal battle being played out—a battle among human individuals but also among warring and often murderous impulses within a single mind or personality. ...


pdf iconDownload PDF (41.6 KB)
pp. 307-310


pdf iconDownload PDF (331.1 KB)
pp. 311-342


pdf iconDownload PDF (342.9 KB)
pp. 343-348


pdf iconDownload PDF (718.7 KB)
p. 376-376

E-ISBN-13: 9780814338063
Print-ISBN-13: 9780814333600

Page Count: 320
Publication Year: 2012

Edition: 1
Volume Title: N/a
Series Title: Contemporary Approaches to Film and Media Series