1. Leo Braudy and Marshall Cohen, Film Theory and Criticism: Introductory Readings, 6th ed. (New York: Oxford, 2004), 445–59. See also Louis D. Giannetti, Understanding Movies (Upper Saddle River, New Jersey: Prentice Hall, 2002), which talks about adaptations that are faithful or loose or literal.

2. Braudy and Cohen, Film Theory and Criticism, 106–17.

3. For more on montage, see Richard Taylor, ed. and trans., The Film Factory: Russian and Soviet Cinema in Documents (London: Routledge and Kegan Paul, 1988), 41–46, 66–67, 72–75.

4. See Claudia Gorbman, Unheard Melodies: Narrative Film Music (Bloomington, Indiana: Indiana University Press, 1987).

5. Ingmar Bergman, The Magic Lantern: An Autobiography, trans. Joan Tate (Harmondsworth: Penguin, 1988).

6. Ingmar Bergman, Images: My Life in Film, trans. Marianne Ruuth (London: Bloomsbury, 1994), 353.

7. See Max Horkheimer and Theodor W. Adorno, “The Culture Industry: Enlightenment as Mass Deception,” Dialectic of Enlightenment (New York: Herder and Herder, 1972) on the detail; and on alienation see Bertolt Brecht, “The Modern Theatre Is Epic Theatre,” in Brecht on Theatre, trans. John Willet (London: Methuen, 1964), 33–42.

8. For a reenacted demonstration of the chariot and pole, see the early sections of Terry Gilliam’s 1988 film The Adventures of Baron Munchausen.

9. Although Bergman does not portray Christian hope, hints (such as the actor’s vision in The Seventh Seal, the terrible, magisterial Winter Light, the charity in Cries and Whispers, the Christmas sequence of Fanny and Alexander) suggest that the light of hope, or at least of edifying mythology, has not quite gone out.

10. The closest cinematic analogy, perhaps insufficiently acknowledged, is Laurence Olivier’s 1944 film version of Shakespeare’s Henry V.

11. See Kenneth Branagh’s Henry V (1989).

12. See André Gregory and Louis Malle’s exquisite Vanya on 42nd Street (1994).

13. The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (New York: Grove’s Dictionaries, 2000), s.v. Zauberoper, says that magical elements were common devices in the Zauberopers (magic operas) that abounded during this period. The magical flute, which today seems so sweet because of its stark contrast from most of the other communication we overhear, worked then because it was a superlative example of a familiar form.

14. Braudy and Cohen, Film Theory and Criticism, 106–17.

15. See Peter Cowie’s chronology in Bergman, Magic Lantern, 291–301. For a most moving use of biographical detail, see Bergman on Bach in Bergman, Magic Lantern, 43.

16. See Bergman, Magic Lantern, 216–17.

Dean Duncan

BYU Studies Publications