The small Swedish island of Fårö in the Baltic Sea, where Ingmar Bergman lived for part of his life and shot several important films, has over the past decade become a place of cinematic tourism based around the heritage of the director. With Bergman tourism as a case in point, this chapter reflects on the memory of the famed auteur and art cinema history in a contemporary context of film-related tourism. By focusing on a particular, famous case of art house cinema tourism, the chapter adds to new and alternative perspectives not only on Bergman as auteur but also on cinematic tourism at large, a field mainly preoccupied with more overtly commercial, typically Hollywood-related, movie culture. Bergman's modernist nature and landscape aesthetics, far beyond classical touristic landscapes, is reflected in how his characters perceive the environment.

Astrid Lindgren is primarily regarded as a literary author, yet this overshadows the fact that her stories were-and continue to be-produced in continuous transformation between art and media forms. Her characters and stories migrate between radio, theater, comics, novels, and picture books and in most cases Lindgren herself-in collaboration with illustrators, songwriters, film directors, etc.-is the main author of all these various adaptations. This study discusses the movement across media in Lindgren’s work with a particular focus on the film medium. The point of departure are the early film productions from the mid-1950s, namely, Rasmus and the Vagabond (Luffaren och Rasmus 1955), Rasmus, Pontus and Toker (Rasmus, Pontus och Toker 1956), and The Master Detective Lives Dangerously (Mästerdetektiven lever farligt 1957). These three films were initially made for radio, which provides an entry point into the relationship between film and audio media in Lindgren’s filmmaking and storytelling, a relationship that continues to define her work throughout her career. The material is approached from a perspective of transmedia storytelling in which the media versions of the story are regarded as an expansion of a larger fictional universe across multiple platforms without having an origin in any of them. In contrast to most adaptations and transmedia studies, the material of this analysis is not limited to the finished media products but also includes the drafts and notes of the early phases of the filmmaking process.

Ingress: Karin Boye lika mycket på utbildningsfilmernas inverkan på folkhemmet som på fascismens framväxt när hon skrev Kallocain? Anna Sofia Rossholm har läst Johan Klingborgs Verkar film: 1930-talslitteraturen i det svenska filmnätverket, en avhandling som ger en ny bild av hur filmen präglade den tidens litterära sfär. 

Klimatförändringen väcker frågor om vilka möjligheter vi egentligen har att gestalta en planetär verklighet bortom det mänskliga.

Through a case study analysis, this article suggests that women’s screen-writing in Sweden in the 1940s eluci-dates important aspects of cinematic authorship in relation to cultural hierarchies and gender. The analysis consists of a contextualized reading of the 1942 film Fallet Ingegerd Bremssen (‘The Ingegerd Bremssen case’), based on Dagmar Edqvist’s psychological novel about a rape and its after-effects, with a screenplay writ-ten by the author herself. A textual adaptation analysis – focusing on the screenwriting style and how the woman’s perspective and experience in the novel is transformed in the adaptation – is contextualized against the historical backdrop of the changes in screenwriting practices during this period as well as of the critical reception of the film. 

Naturfilm består av tre kortare bildessäer som reflekterar över relationen mellan människa och natur i klassisk svensk naturdokumentärfilm. I arbetet belyses också hur distinktionen mellan natur och kultur förhandlas inom moderniteten. Essäerna omfattar reflektioner över landskapet, naturen som resurs, art- och genusrelationer, ursprungskulturer och mediets materialitet. I bildessäerna kombineras tecknade bilder med en berättarröst; teckningar av frysta filmbilder från dokumentärfilmer visas parallellt med berättarröstens fragmentariska reflektioner över bilden som representation och materiell inskription. Essäerna är mediala transformationer av svenska dokumentärfilmer från den klassiska erans höjdpunkt, mellan sent 1930-tal och det tidigt 1950-tal. Denna period sammanfaller med ’den stora accelerationen’, då exploateringen av naturens resurser ökar explosionsartat samtidigt som avståndet mellan människa och natur ökar.

This chapter discusses the creative playfulness in the screenwriting process of Ingmar Bergman’s filmmaking. The process of writing from notes and drafts to finished screenplays is examined from the perspective of genetic criticism in combination with perspectives on screenwriting as an intermediate process across media and in stages. The notion of play refers both to Bergman’s method of creative writing and to the playful dimension of the finished artwork, i.e. the films and screenplays. Play is understood in terms of transcendence between the fictional and the real on various levels. Most importantly, the chapter focuses on play in the ambivalence of agency in Bergman’s notebooks—that is transgressions between author, narrator, and character—that continues in the aesthetics of self-reflexivity and auto-fiction in the screenplays and in the films. The Ingmar Bergman Archives, where his notes and screenplay drafts are collected and digitized, allow such an examination of the writing process. The archive consists of the donation of Bergman’s personal collection of notes, drafts, letters, and other documents—personal and professional—from his early career in the 1930s until the last productions in the early 2000s, across several media and art forms.