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 Farago and Mans Reutersward, 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.>

Painting a truly mature, challenging picture of Bergman's overdetermined authorship, both celebrating its results on screen while also interrogating the ethical costs of such uncommon power spanning multiple decades, Maaret Koskinen and Louise Wallenberg's expertly curated volume rises above the current Manichean vogue for designating authors as simple heroes or villains. With its genuinely refreshing emphasis on Swedish production context and a highly generative mix of academic analyses, interviews with collaborators, and commentaries by well-chosen film and theatre directors of subsequent generations, this very welcome book features an entirely apposite mix of admiration, new insight, and more troubled reflection.

Vorwort
Offers new and insightful perspectives on Ingmar Bergman's work as a film and theatre director as well as writer of fiction, through the coming together of an internationally prominent group of academic scholars and artistic practitioners who have worked on and/or with Bergman.

Autorentext
Maaret Koskinen is Professor in Film Studies at Stockholm University, Sweden. She was also film critic in Sweden's largest daily Dagens Nyheter (1981-2011) and Board Member of the Swedish Film Institute (2011-2016). Her latest publication is Involuntary Dogma restrictions: Orca and COVID-19 screen culture (2021). Other publications include Ingmar Bergman's THE SILENCE. Pictures in the Typewriter, Writings on the Screen (2010); Ingmar Bergman y sus primeros escritos. En el principio era la palabra (2017); and the forthcoming Ingmar Bergman at the Crossroads (2022).Louise Wallenberg is Professor in Fashion Studies at Stockholm University, Sweden. She holds a PhD in Film Studies, and she was the establishing director of the Centre for Fashion Studies between 2007 and 2013. Among her publications are the collections MODE (2009); Nordic Fashion Studies (2011); Mode och modernism (2014); Fashion, Film, and the 1960s (2017); Fashion and Modernism (2018); What about all these women? (2022); and Ingmar Bergman at the Crossroads (2022).

Inhalt
Acknowledgements Preface Ang Lee (Filmmaker) Introduction Maaret Koskinen (*Stockholm University, Sweden)and Louise Wallenberg (Stockholm University, Sweden) 1. Hour of the Wolf: Nightmares and Creativity Margarethe von Trotta (Film Director, Germany) 2. Working with Bergman: Interview with Film and Television Producers Katinka Faragò and Måns Reuterswärd Maaret Koskinen (Stockholm University, Sweden)and Louise Wallenberg (Stockholm University, Sweden) 3. Ambiguity and the Making of Nattvardsgästerna/Winter LightPaisley Livingston (Lingnan University, Hong Kong and Uppsala University, Sweden) 4. The Passion of Anna: The Wondrous Alchemy Between Actors and Landscape, Interview with Atom Egoyan Maaret Koskinen (Stockholm University, Sweden) and Louise Wallenberg (Stockholm University, Sweden) 5. Scenes from On and Off the Set: Ingmar Bergman, Power and Metoo Maaret Koskinen(Stockholm University, Sweden) 6. For Good or For Bad? Bergman's Ambivalent Influence Some Observations Linus Tunström (Independent Scholar, Sweden) 7. Jacobi's Burden: "Jewish" Figurations in Fanny och AlexanderJonathan Rozenkrantz (Lund University, Sweden) 8. Producing The Magic Flute (1975): Conversation with Måns Reuterswärd and Katinka Faragó Maaret Koskinen (Stockholm University, Sweden) and Louise Wallenberg (Stockholm University, Sweden) 9. Metareference, Metalepsis, and Music in Liv Ullmann's and Ingmar Bergman's FaithlessAlexis Luko (Carleton University, Canada) 10. Bergman's The Magician: The Art of Creating Illusions Allan Havis (University of California, San Diego, USA) 11. Author, Auteur, Actor: 21 Fragments on Bergman, Ullmann, and PersonaJames Schamus (Columbia University, USA) 12. Dear Director: Adapting Bergman's Failures and Leftovers Into a Play, and a Fan-letter Into a Film Marcus Lindeen (Writer/ Director, Sweden) 13. Making (the) Silence Speak: Remake, Retake, Rectify Louise Wallenberg (Stockholm University, Sweden) Conclusion Maaret Koskinen (Stockholm University, Sweden)and Louise Wallenberg (*Stockholm University, Sweden) Bibliography Filmography Contributor bios Index