This essay examines Victor Sjöström’s Ingeborg Holm in terms of its exhibition and preservation history. Produced by Swedish Biograph in 1913, the film survives today in a truncated copy derived from a 1915 reissue. Key stylistic elements identified in the scholarly reception of Sjöström’s film are discussed in relation to its influential predecessor, Paul Garbagni’s I lifvets vår/Första älskarinnan (In the Springtime of Life, Swedish Biograph, 1912). Sjöström was a featured actor in Garbagni’s film. A sketch of the institutional background of Swedish cinema in 1912, when Garbagni arrived at the brand new SB studio at Lidingö, introduces the discussion of Garbagni and Sjöström’s work.


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