Topics & Themes

The following list of topics and themes will hopefully suggest as many other ones of similar importance, and provides the guidelines for a Call for Papers welcoming proposals for a 20+10minutes talk, both as individual or co-authored presentations, and in panels of more than one contributors (20+10min. x 2 or x 3).
The deadline for submitting an abstract not exceding 3000 characters (including spaces) in PDF and Word formats is May 30th 2018. The working languages of the Conference are English and Portuguese. The authors will be notified of the acceptance of their proposals by June 30th 2018.
The possibility of a future publication of a book of essays summing up the outcome of this meeting is being envisaged.

The filmic constellation
Bergman as auteur
The place of Bergman within Swedish cinema
Bergman and his cinematic ancestors
The cinematic posterity of Bergman
Bergman between Modernism and Postmodernism
The ‘other Bergman’: the beginnings (A Ship Bound for India…), the singularities (The Serpent’s Egg…), the television summulae (The Blessed Ones…)
Cinema movies and TV movies
Approaches to a film or films in particular
Comparative approaches to singular works: within Bergman’s filmography, between his and other filmographies, between the stage director and the film director
Heuristic value of the ‘Trilogies’ and of other significant groupings
The ‘war films’ as an archaeology of conflict
Comedies, dramas and other genres
The films-testament (In the Presence of a Clown, Fanny and Alexander, After the Rehearsal, The Image Makers, Saraband): the nostalgic retrospection while neighbouring an ending
Is there an ‘essential core’ of meaning to Bergman’s opus?

Intermediality and intersensoriality
The multidimensionality of Ingmar Bergman: the man of the (stage, radio and TV) theatre, the cinema man, the man of literature
Presence and importance of music / painting / theatre / literature / lanterna magica in Bergman’s education and filmmaking
The forging of the filmmaker in the context of the Swedish cultural and literary tradition
The cultural landmarks incorporated into film
Medium-specificity, intermediality, interartisticity and re-mediation
The ‘theatre films’
Theatrical space and cinematic space
Verbality, visuality, aurality: Bergman and the cinema of the senses
Emotion and expression
The sentimental (under)tones: humor, pathos, inexpressivo, cry, restraint, satire, violence…

The ‘philosophy’ of Ingmar Bergman
Representation and truth
Metaphysics, ethics, religion
Humanism and nihilism
Intimism, apoliticism and… politics
Self-referenciality and metalepsis of the cinema (Prison, Persona…)
Dramaticity, narrativity and non-narrativity in Bergman’s cinema
The memory of cinema: explicit quotation and constitutive nostalgia
The complex, labyrinthine structures of the film inside the film: antecipating the Virtual Reality fables?

Methodologies and epistemologies regarding Bergman
Philosophy of cinema
The psychoanalytical perspectives
Bergman and Existencialism
Cultural-historical and societal contexts
Film Studies
Critical Theory
Cultural Studies
Feminist, gender and queer readings
Conflicts of interpretations: the psychological, the social, the existential, the anthropological, the cinematic

The Bergmanian themes and universes
Evil, wickedness, pessimism, war, the couple, existence, God, silence, madness, perversion, humiliation, death, life…
Recurrent topics in Bergman (thematic, technical, image-bound): the hand, the Bergmanian close-up, the empty face, the child, the couple, Bach’s music, the phantom, the clown…
The ‘medieval’ Bergman
Ritual, circus, sacrifice, play, game
Eroticism, love, sex – and their antonyms
A women’s filmmaker, a couple’s filmmaker, an actor’s filmmaker
Personal singularity vs type-characters: the mask-names in Bergman (Johan(nes), Egerman(n), Anna, Marianne, Karin, Vergerus, Vogler…)

Art and life
Biography, autobiography and artistic transposal
Personal singularity vs type-characters: the mask-names in Bergman (Johan(nes), Egerman(n), Anna, Marianne, Karin, Vergerus, Vogler…)
Alter egos and fetish actors: from Birger Malmsten and Erland Josephson to Bibi Anderson and Liv Ulmann

The contemporariness of Bergman
Criticism of the assumptions of the Bergmanian worldview
The deficit of the social and the political dimensions in adressing the human
Bergman, reader of his times: the ‘malaise in the culture’
The critical exegesis of Bergman’s cinema over the ages
Critical revision of the state-of-the-art in Bergman studies

The image-maker
Treatment of space and time
Treatment of the gesture and the body
Interiority, environing space, architecture
Haptic vision and carnality in Bergman
Specifity of Bergman’s close-up?
Writing the script
From script to screen
Bergman’s actors (and actresses)
The film crew, the troupe and the director
Directing (and) the technical dimensions: montage, cinematography, cenography…
Fascination of the Image