Ingmar Bergman is worldwide known as a film and stage director. Yet no-one has attempted to compare his stage and screen activities. In Between Stage and Screen Egil Törnqvist examines formal and thematical correspondences and differences between a number of Bergman's stage, screen, and radio productions. In the prologue Bergman's spiritual and aesthetic heritage and his position in the twentieth century media landscape is outlined. In the epilogue the question is answered to what extent one can speak of Bergman's directorial 'method' irrespective of the chosen medium.
About the Author
Egil Törnqvist is professor emeritus in Scandinavian studies at the University of Amsterdam. His most recent books include Strindberg’s “The Ghost Sonata”: From Text to Performance, Bergman’s Muses: Aesthetic Versatility in Film, Theatre, Television, and Radio, and Eugene O’Neill: A Playwright’s Theatre.
Table of Contents
Narrative Cinema as Film
2. Motion's Negative Imprint
3. Frame of Reference
4. Deaths Seen
5. The Photographic Regress of Science Fiction Film
6. Cinema's Victorian Retrofit
7. Modernism and the Flicker Effect