2018 commemorates the centenary of Ingmar Bergman&rsquo\;s birth. To honour and to adress the artistic legacy of this great master\, the University of É\;vora / &lsquo\;Cinema-fora-dos Leõ\;es&rsquo\;\, together with &lsquo\;Colecç\;ã\;o B&rsquo\;\, is organizing next \;24th-27th \;October 2018\, in partnership with Leopardo Filmes\, the Bergman Foundation and the Embassy of Sweden in Portugal\, plus the support of the Alentejo Cultural Directory\, the Eugé\;nio de Almeida Foundation\, and the CHAIA (Universidade de É\;vora)\, Prá\;xis (Universidade da Beira Interior/ Universidade de É\;vora) and CFUL (Faculdade de Letras de Lisboa) research Centers\, an International Conference and a select screening of Bergman&rsquo\;s cinematic oeuvre in the world heritage town of É\;vora\, Portugal. \;
\nFor a more comprehensive overview of the contents and aims of the Conference\, please visit the following adress: \;http://www.bergmanrevisited2018.uevora.pt/
\nWe are looking forward to bringing together in the beautiful medieval town of É\;vora the (already confirmed) following set of keynote speakers: \;
\nGuest Keynote Speakers
\nAntó\;nio Jú\;lio Rebelo (Prá\;xis-UBI/UÉ\;\, Portugal)
\nJorge Silva Melo (filmmaker\, stage director\, writer\, Lisbon\, Portugal) [to be confirmed]
\nJosé\; Alberto Ferreira (UÉ\;/FEA/CHAIA\, Portugal)
\nJosé\; Manuel Martins (UÉ\;\, Prá\;xis/CFUL/CHAIA\, Portugal)
\nLaura Hubner (University of Winchester\, UK)
\nLuí\;s Ferro (CHAIA\, É\;vora\, Portugal)
\nMaaret Koskinen (Stockholms Universitet\, Sweden)
\nPedro Mantas (Universidad de Có\;rdoba\, Spain)
\nSusana Viegas (Universidade Nova de Lisboa/Deakin University\, Portugal)
\nThomas Elsaesser (Universiteit van Amsterdam)
\nOrganizers
\nLuí\;s Ferro\, José\; Manuel Martins\, José\; Alberto Ferreira
\nCFA: "Everything represents: nothing is". Bergman Revisited - A Centennial Conference (1918-2018)
\nFrom the heights of his towering presence amidst the landscape of European art film\, the core of the perhaps too well-known Bergman&rsquo\;s work remains an enigma to date\, and stirs a thought-provoking network of questions: is there an innermost\, ultimate meaning inhabiting Ingmar Bergman&rsquo\;s artistic thought and creative output &ndash\; and\, if so\, how are we to define it? Or\, asking more broadly: what are the formal-stylistic\, aesthetic\, thematic\, philosophical\, film-specific\, performative features circumscribing this undeniable unity of meaning which\, on the other hand\, always eludes definition?
\nIn a further line of consideration\, beside the filmmaker\, there stands also Bergman the writer and screenwriter\, the stage director\, the producer\, the theatre manager\, the man of culture impregnated with a wealth of interartistic references\, who is able to mobilize ingeneously devised intermedial resources going from literature to music\, from architecture to painting\, but also keen on bridging the gap between high culture and the popular world of circus and travelling players. The name or brand &lsquo\;Bergman&rsquo\; points\, in fact\, to a vast realm whose internal complexity begs for further exploration.
\nThe public access to his archives through the edition of parts of his writings\, together with the published original scripts\, add yet another revealing side to the polyhedron Bergman\, a multilayered treasure offered to the study of the scholar and the loving care of the film geek\, that invites the launching of a larger meeting that can bring together the community of Bergman enthusiasts in a scientific symposium. Bearing testimony to the same process of a &lsquo\;return to Bergman&rsquo\; (or will it be &lsquo\;of \;Bergman&rsquo\;?)\, the growing international interest on the multidimensionality of his monumental body of work translates itself into a profusion of new books and essays\, conferences and academic dissertations. This voluminous bibliography\, embracing both primary and secondary sources\, constitutes the current basis for any serious undertaking within the field of Bergman Studies.
\nIn this context\, the initial pretext of a commemoration of the anniversary surmounts itself towards the more formal purpose of setting an international conference guided by the epistemological aim of reopening and retargeting the central thematics of the Bergman field.
\n(...)
\nThe persistency of Bergman amongst the top list of the &lsquo\;films to bring to our island&rsquo\;\, demands from us a task akin to that of cinema: coming back again and again to the art of distributing wisely the lights and the shadows.
\nWe are 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).
\nThe 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. \;
\nThe possibility of a future publication of a book of essays summing up the outcome of this meeting is being envisaged.
\nAfter login in \;https://sge.uevora.pt \;go to \;https://sge.uevora.pt/eventos/ver/461
\nThe following \;list of topics and themes \;will hopefully suggest as many other ones of similar importance
\nThe filmic constellation
\nBergman as \;auteur
\nThe place of Bergman within Swedish cinema
\nBergman and his cinematic ancestors
\nThe cinematic posterity of Bergman
\nBergman between Modernism and Postmodernism
\nThe &lsquo\;other Bergman&rsquo\;: the beginnings (A Ship Bound for India&hellip\;)\, the singularities (The Serpent&rsquo\;s Egg&hellip\;)\, the television \;summulae \;(The Blessed Ones&hellip\;)
\nCinema movies and TV movies
\nApproaches to a film or films in particular
\nComparative approaches to singular works: within Bergman&rsquo\;s filmography\, between his and other filmographies\, between the stage director and the film director
\nHeuristic value of the &lsquo\;Trilogies&rsquo\; and of other significant groupings
\nThe &lsquo\;war films&rsquo\; as an archaeology of conflict
\nComedies\, dramas and other genres
\nThe 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
\nIs there an &lsquo\;essential core&rsquo\; of meaning to Bergman&rsquo\;s opus?
\nIntermediality and intersensoriality
\nThe multidimensionality of Ingmar Bergman: the man of the (stage\, radio and TV) theatre\, the cinema man\, the man of literature
\nPresence and importance of music / painting / theatre / literature / \;lanterna magica \;in Bergman&rsquo\;s education and filmmaking
\nThe forging of the filmmaker in the context of the Swedish cultural and literary tradition
\nThe cultural landmarks incorporated into film
\nMedium-specificity\, intermediality\, interartisticity and re-mediation
\nThe &lsquo\;theatre films&rsquo\;
\nTheatrical space and cinematic space
\nVerbality\, visuality\, aurality: Bergman and the cinema of the senses
\nEmotion and expression
\nThe sentimental (under)tones: humor\, pathos\, \;inexpressivo\, cry\, restraint\, satire\, violence&hellip\;
\nThe &lsquo\;philosophy&rsquo\; of Ingmar Bergman
\nRepresentation and truth
\nMetaphysics\, ethics\, religion
\nHumanism and nihilism
\nIntimism\, apoliticism and&hellip\; politics
\nSelf-referenciality and metalepsis of the cinema (Prison\, \;Persona&hellip\;)
\nDramaticity\, narrativity and non-narrativity in Bergman&rsquo\;s cinema
\nThe memory of cinema: explicit quotation and constitutive nostalgia
\nThe complex\, labyrinthine structures of the film inside the film: antecipating the Virtual Reality fables?
\nMethodologies and epistemologies regarding Bergman
\nPhilosophy of cinema
\nThe psychoanalytical perspectives
\nBergman and Existencialism
\nCultural-historical and societal contexts
\nFilm Studies
\nCritical Theory
\nCultural Studies
\nFeminist\, gender and queer readings
\nConflicts of interpretations: the psychological\, the social\, the existential\, the anthropological\, the cinematic \;
\nThe Bergmanian themes and universes
\nEvil\, wickedness\, pessimism\, war\, the couple\, existence\, God\, silence\, madness\, perversion\, humiliation\, death\, life&hellip\;
\nRecurrent topics in Bergman (thematic\, technical\, image-bound): the hand\, the Bergmanian close-up\, the empty face\, the child\, the couple\, Bach&rsquo\;s music\, the phantom\, the clown&hellip\;
\nThe &lsquo\;medieval&rsquo\; Bergman
\nRitual\, circus\, sacrifice\, play\, game
\nEroticism\, love\, sex &ndash\; and their antonyms
\nA women&rsquo\;s filmmaker\, a couple&rsquo\;s filmmaker\, an actor&rsquo\;s filmmaker
\nPersonal singularity vs type-characters: the mask-names in Bergman (Johan(nes)\, Egerman(n)\, Anna\, Marianne\, Karin\, Vergerus\, Vogler...)
\nArt and life
\nBiography\, autobiography and artistic transposal
\nPersonal singularity vs type-characters: the mask-names in Bergman (Johan(nes)\, Egerman(n)\, Anna\, Marianne\, Karin\, Vergerus\, Vogler...)
\nAlter egos and fetish actors: from Birger Malmsten and Erland Josephson to Bibi Anderson and Liv Ulmann
\nThe contemporariness of Bergman
\nCriticism of the assumptions of the Bergmanian worldview
\nThe deficit of the social and the political dimensions in adressing the human
\nBergman\, reader of his times: the &lsquo\;malaise in the culture&rsquo\;
\nThe critical exegesis of Bergman&rsquo\;s cinema over the ages
\nCritical revision of the state-of-the-art in Bergman studies
\nThe image-maker
\nTreatment of space and time
\nTreatment of the gesture and the body
\nInteriority\, environing space\, architecture
\nHaptic vision and carnality in Bergman
\nSpecifity of Bergman&rsquo\;s close-up?
\nWriting the script
\nFrom script to screen
\nBergman&rsquo\;s actors (and actresses)
\nThe film crew\, the troupe and the director
\nDirecting (and) the technical dimensions: montage\, cinematography\, cenography&hellip\;
\nFascination of the Image
\nRegistration fees:
\nEarly bird: 50&euro\;
\nLate bird (after the 31st \;of July): 70&euro\;
\nhttp://www.bergmanrevisited2018.uevora.pt/registration-fees/
\nhttps://sge.uevora.pt/eventos/ver/461
\nCinema Cicle: 'The other Bergman'
\nIn addition to the conference\, a carefully devised cinema cicle will revolve the 'unknown Bergman' and will offer the opportunity to present and publicly discuss a set of more than 20 films of the master. All the screenings will be presented and commented by guest speakers.
\n\; http://www.bergmanrevisited2018.uevora.pt/cinema-cicle-the-other-bergman/ \;
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