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" .((A)< Promoters: Prof. Dr. Stijn Joye Prof. Dr. Maaret Koskinen Cover design: Andreas Sjövall Print: University Press i ii For my family, may we continue to inspire each other. iii 7DEOHRI&RQWHQWV >ŝƐƚŽĨĨŝŐƵƌĞƐĂŶĚƚĂďůĞƐ ǀŝŝŝ dĂďůĞŽĨŽŶƚĞŶƚƐ ŝǀ ĐŬŶŽǁůĞĚŐŵĞŶƚƐ ŝdž ďƐƚƌĂĐƚŶŐůŝƐŚ dž ^ƵŵŵĂƌLJƵƚĐŚ džŝ ^ƵŵŵĂƌLJ^ǁĞĚŝƐŚ džŝŝŝ ŽŶĞ/ŶƚƌŽĚƵĐƚŝŽŶ ϭ ϭ͘ 'ŽĂůƐ Ϯ Ϯ͘ tŚLJĞƌŐŵĂŶ͍^ƉĂƚŝĂůĂŶĚƚĞŵƉŽƌĂůŵŽƚŝǀĂƚŝŽŶƐ͘ ϲ ϯ͘ ŚĂƉƚĞƌďƌĞĂŬĚŽǁŶ ϴ ƚǁŽdŚĞŽƌLJ ϭϭ ϭ͘ EĞǁĐŝŶĞŵĂŚŝƐƚŽƌLJƐƚƵĚŝĞƐ ϭϭ ϭ͘ϭ͘ dŚĞĂƵĚŝĞŶĐĞŝŶĨŽĐƵƐ ϭϭ ϭ͘Ϯ͘ :ĂŶĞƚ^ƚĂŝŐĞƌ ϭϮ ϭ͘ϯ͘ ŶŶĞƚƚĞ<ƵŚŶ ϭϱ ϭ͘ϯ͘ϭ͘ ŝŶĞŵĂŵĞŵŽƌLJ ϭϱ ϭ͘ϯ͘Ϯ͘ DĞŵŽƌLJĂŶĚŝĚĞŶƚŝƚLJ ϭϳ ϭ͘ϯ͘ϯ͘ /ĚĞŶƚŝƚLJĂŶĚƚŚĞĐŝŶĞŵĂ ϭϵ ϭ͘ϯ͘ϰ͘ DĞŵŽƌŝĞƐĂŶĚĞŵŽƚŝŽŶƐ ϮϬ Ϯ͘ dƌĂĐĞƐŽĨƚĞdžƚƐĂŶĚĂƵƚŚŽƌƐŝŶŶĞǁĐŝŶĞŵĂŚŝƐƚŽƌLJƐƚƵĚŝĞƐ Ϯϯ Ϯ͘ϭ͘ džŚŝďŝƚŝŽŶ͕ƐƉĂĐĞ͕ĂŶĚƉůĂĐĞ Ϯϰ Ϯ͘Ϯ͘ WƌŽŐƌĂŵŵŝŶŐ͕ĂĚŵŝƐƐŝŽŶƐ͕ĂŶĚĞĐŽŶŽŵŝĐĂŶĂůLJƐŝƐ Ϯϲ Ϯ͘ϯ͘ ŝƐƚƌŝďƵƚŝŽŶĂŶĚĐŝƌĐƵůĂƚŝŽŶ Ϯϴ Ϯ͘ϰ͘ ƵĚŝĞŶĐĞZĞĐĞƉƚŝŽŶƐƚƵĚŝĞƐ Ϯϵ Ϯ͘ϰ͘ϭ͘ dĞdžƚƐ Ϯϵ Ϯ͘ϰ͘Ϯ͘ dŚĞĂƵƚĞƵƌĐŽŵŝŶŐƵƉ ϯϮ ϯ͘ ZĞǀŝƐŝƚŝŶŐĂƵƚĞƵƌƚŚĞŽƌLJ ϯϯ iv ϰ͘ ĞƌŐŵĂŶͲƐƚƵĚŝĞƐ ϯϳ ϰ͘ϭ͘ϭ͘ KǀĞƌǀŝĞǁ ϯϳ ϰ͘ϭ͘Ϯ͘ ĞƌŐŵĂŶͲƐƚƵĚŝĞƐŝŶĞůŐŝƵŵ ϯϵ ϰ͘ϭ͘ϯ͘ ZĞĐĞƉƚŝŽŶƐƚƵĚŝĞƐŽŶ/ŶŐŵĂƌĞƌŐŵĂŶ ϰϭ ϱ͘ ŶƚĞƌ͗ƚŚĞĨŝůŵƚĞdžƚ͍ ϰϮ ϱ͘ϭ͘ dĞdžƚƐĂŶĚĞŵŽƚŝŽŶƐ ϰϯ ϱ͘Ϯ͘ ,ŽǁĚŽĞƐƚŚĞĂƵĚŝĞŶĐĞĐŽŵĞŝŶ͕ƚŚĞŶ͍ ϰϲ ϲ͘ ŽŶĐůƵƐŝŽŶ ϰϳ ƚŚƌĞĞDĞƚŚŽĚŽůŽŐLJ ϰϵ ϭ͘ dƌŝĂŶŐƵůĂƚŝŽŶĂŶĚĐŚŽŝĐĞŽĨŵĞƚŚŽĚƐ ϰϵ Ϯ͘ ^ĂŵƉůĞƐ͕ŵĞƚŚŽĚƐ͕ĂŶĚůŝŵŝƚĂƚŝŽŶƐ ϱϬ Ϯ͘ϭ͘ dĞdžƚƵĂůĂŶĂůLJƐŝƐ ϱϬ Ϯ͘Ϯ͘ ƌĐŚŝǀĂůƌĞƐĞĂƌĐŚ ϱϭ Ϯ͘Ϯ͘ϭ͘ ƌĐŚŝǀĂůƐĂŵƉůĞƐ ϱϭ Ϯ͘Ϯ͘Ϯ͘ >ŝŵŝƚĂƚŝŽŶƐ ϱϯ Ϯ͘ϯ͘ /ŶƚĞƌǀŝĞǁƐ ϱϰ Ϯ͘ϯ͘ϭ͘ /ŶƚĞƌǀŝĞǁƐĂŵƉůĞ ϱϰ Ϯ͘ϯ͘Ϯ͘ DŝŶŝŶŐŵĞŵŽƌŝĞƐĂŶĚŽƌĂůŚŝƐƚŽƌŝĞƐ ϲϭ ϯ͘ DĞƚŚŽĚŽůŽŐŝĐĂůƌĞŵĂƌŬƐƉĞƌĞŵƉŝƌŝĐĂůĐŚĂƉƚĞƌ ϲϳ ϯ͘ϭ͘ DĞƚŚŽĚŽůŽŐŝĐĂůĐŚŽŝĐĞƐĨŽƌĐŚĂƉƚĞƌĨŽƵƌ ϲϳ ϯ͘Ϯ͘ DĞƚŚŽĚŽůŽŐŝĐĂůĐŚŽŝĐĞƐĨŽƌĐŚĂƉƚĞƌƐŝdž ϲϵ ϰ͘ ŽŵƉĂƌĂďŝůŝƚLJŽĨƚŚĞĚĞƐŝŐŶ ϲϵ ϰ͘ϭ͘ dŚĞƐƚĂƚƵƐŽĨĐŽŵƉĂƌŝƐŽŶƐŝŶĨŝůŵƐƚƵĚŝĞƐ ϲϵ ϰ͘Ϯ͘ DĞƚŚŽĚŽůŽŐŝĐĂůƋƵĞƐƚŝŽŶƐŽŶŽƉĞƌĂƚŝŽŶĂůŝnjĂƚŝŽŶŽĨƚŚĞĐŽŵƉĂƌĂƚŝǀĞƐĞƚƵƉ ϳϭ ϰ͘ϯ͘ džŚŝďŝƚŝŽŶĐŝƌĐƵŵƐƚĂŶĐĞƐŝŶ^ǁĞĚĞŶĂŶĚĞůŐŝƵŵ ϳϮ ϰ͘ϰ͘ ZĞůĞĂƐĞĚĂƚĞƐĂŶĚƐĐƌĞĞŶŝŶŐƐŝŶ^ǁĞĚĞŶĂŶĚĞůŐŝƵŵ ϳϯ ϱ͘ WƵďůŝĐĂƚŝŽŶƐŽĨƚŚŝƐĚŝƐƐĞƌƚĂƚŝŽŶ ϳϰ ĨŽƵƌZĞͲĐŽŶƐƚƌƵĐƚŝŶŐƚŚĞĂƵƚĞƵƌ/ŶŐŵĂƌĞƌŐŵĂŶĂŶĚŚŝƐƌĞĐĞƉƚŝŽŶďLJƚŚĞĂƵĚŝĞŶĐĞ ϳϳ ϭ͘ /ŶƚƌŽĚƵĐƚŝŽŶ ϳϳ Ϯ͘ dŚĞĐŽŶƐƚƌƵĐƚŝŽŶŽĨƚŚĞĂƵƚĞƵƌͲƉĞƌƐŽŶĂ ϳϵ Ϯ͘ϭ͘ tŽŵĞŶĂŶĚůŽǀĞ͗ĞƌŐŵĂŶΖƐƐŝĚĞ ϳϵ Ϯ͘Ϯ͘ tŽŵĞŶĂŶĚůŽǀĞ͗ƚŚĞƉƌĞƐƐΖƐŝĚĞ ϴϮ Ϯ͘ϯ͘ ĞƌŐŵĂŶΖƐĚĞŵŽŶƉĞƌƐŽŶĂůŝƚLJ ϴϳ v ϯ͘ ƵĚŝĞŶĐĞƌĞĐĞƉƚŝŽŶ͗ĂƵƚĞƵƌŝƐŵĂƐĐĞŶƚƌĂůƚŽƚŚĞŝŶƚĞƌƉƌĞƚĂƚŝŽŶ ϴϴ ϯ͘ϭ͘ WĂƌĂĚŽdžŝĐĂůƌĞĐŽŐŶŝƚŝŽŶ ϵϮ ϰ͘ ŽŶĐůƵƐŝŽŶ ϵϰ ĨŝǀĞZĞŵĞŵďĞƌŝŶŐĞƌŐŵĂŶΖƐĐĂŶŽŶ͍ ϵϳ ϭ͘ /ŶƚƌŽĚƵĐƚŝŽŶ ϵϳ Ϯ͘ ůůŬŝŶĚƐŽĨŵĞŵŽƌŝĞƐ ϵϴ Ϯ͘ϭ͘ ŶŽƚŚĞƌƚLJƉĞŽĨƉůĂĐĞŵĞŵŽƌLJ͗ƚŚĞ^ǁĞĚŝƐŚŶĞƐƐŽĨƚŚĞĨŝůŵƐ ϭϬϮ Ϯ͘Ϯ͘ ^ĐĞŶĞƐ͕ŝŵĂŐĞƐĂŶĚƐŝƚƵĂƚĞĚŶĞƐƐ ϭϬϰ Ϯ͘ϯ͘ dLJƉĞŵĞŵŽƌŝĞƐ ϭϬϴ ϯ͘ ĞƌŐŵĂŶΖƐƉĞƌƐŽŶĂĂƐƉĂƌƚŽĨƚŚĞĨŝůŵƐ ϭϭϬ ϰ͘ ŽŶĐůƵƐŝŽŶ ϭϭϲ ƐŝdžĐĂƐĞŽĨǀŝĞǁŝŶŐ͗^ĐĞŶĞƌƵƌĞƚƚćŬƚĞŶƐŬĂƉ ϭϭϵ ϭ͘ /ŶƚƌŽĚƵĐƚŝŽŶ ϭϭϵ Ϯ͘ >ŽǀĞĂƐƐŽĐŝĂůůLJĐŽĚŝĨŝĞĚ ϭϮϬ Ϯ͘ϭ͘ dŚĞƉŽǁĞƌĂŶĚŽƵƚĐŽŵĞƐŽĨŐĞŶĚĞƌƌŽůĞƐŝŶŚĞƚĞƌŽƐĞdžƵĂůƌĞůĂƚŝŽŶƐŚŝƉƐ ϭϮϯ ϯ͘ ŚĂŶŐŝŶŐůŽǀĞ ϭϮϱ ϰ͘ ĞƉŝĐƚŝŽŶƐŽĨůŽǀĞ ϭϮϳ ϱ͘ ŶĂůLJƐŝƐ ϭϯϬ ϱ͘ϭ͘ ^ĐĞŶĞƌŝŶƐŽĐŝĞƚLJ ϭϯϬ ϱ͘Ϯ͘ >ŽǀĞ͕ŝĚĞŶƚŝƚLJ͕ĂŶĚƐĞdžƵĂůŝƚLJŝŶ^ĐĞŶĞƌ ϭϯϮ ϱ͘Ϯ͘ϭ͘ /ĚĞŶƚŝƚLJͲďƵŝůĚŝŶŐĂŶĚͲĐƌƵŵďůŝŶŐ ϭϯϯ ϱ͘Ϯ͘Ϯ͘ ŽŵƉŽŶĞŶƚƐŽĨůŽǀĞŝŶ͚^ĐĞŶĞƌ͛ ϭϯϱ ϱ͘ϯ͘ DĂƉƉŝŶŐĂƵĚŝĞŶĐĞƌĞƐƉŽŶƐĞƐ ϭϯϳ ϱ͘ϯ͘ϭ͘ WĂƌƚŝĐŝƉĂŶƚƐ͕ůŽǀĞ͕ĂŶĚƐĞdžƵĂůŝƚLJŝŶŐĞŶĞƌĂů ϭϯϴ ϱ͘ϯ͘Ϯ͘ ^ŽĐŝĞƚĂůŝŵĂŐĞƐŽĨůŽǀĞŝŶŝŶƚĞƌƉƌĞƚĂƚŝŽŶƐŽĨ^ĐĞŶĞƌ ϭϰϱ ϲ͘ ŽŶĐůƵƐŝŽŶ ϭϰϳ ƐĞǀĞŶ'ĞŶĞƌĂůŽŶĐůƵƐŝŽŶ ϭϰϵ ϭ͘ ^ƵŵŵĂƌLJŽĨƚŚĞĨŝŶĚŝŶŐƐ ϭϰϵ Ϯ͘ ĐŚŝĞǀĞŵĞŶƚƐ ϭϱϮ ϯ͘ ZĞĨůĞĐƚŝŽŶƐŽŶůŝŵŝƚĂƚŝŽŶƐĂŶĚƉŽƐƐŝďŝůŝƚŝĞƐ ϭϱϯ ŝďůŝŽŐƌĂƉŚLJ ϭϱϲ vi ĂƉƉĞŶĚŝdžϭ&ŝůŵŽŐƌĂƉŚLJ ϭϴϴ ĂƉƉĞŶĚŝdžϮYƵĞƐƚŝŽŶŶĂŝƌĞ ϭϵϬ ĂƉƉĞŶĚŝdžϯƌŽƉͲŽĨĨ ϭϵϵ ĂƉƉĞŶĚŝdžϰďŽƵƚ/ŶŐŵĂƌĞƌŐŵĂŶ ϮϬϳ vii /LVWRIILJXUHVDQGWDEOHV Table 1: social statistics on divorce from scb.be - p. 19 Table 2: number of participants in Sweden according to gender and date of birth - p. 76 Table 3: number of participants in Belgium and Sweden according to gender and date of birth - p. 76 viii $FNQRZOHGJPHQWV One always forgets to thank someone in a section like this, because a project like this spans many years and, thereby, directly and indirectly touches many lives. I would like to dearly thank my very complementary promoters, Stijn Joye and Maaret Koskinen, for their belief in me and my sometimes voluminous ideas about this project. Based on the empirically grounded research of talking to my peers, I can safely say I have found the two best people in academia to guide me along this journey. Stijn, I am smiling when I think about all the years that I had the pleasure of working with you. You have given me plenty of opportunities and at the same time always respected my steps of development. Whether late at night or early in the morning, a supportive email was never far away. I cannot express how valuable that has been. Maaret, your structural insights have made this path an easier one. Every meeting I had with you solved all hurdles at that point. I hope that one day I can guide someone like you guided me. I also want to thank the evaluation committee, Anu Koivunen, Daniel Biltereyst, and especially Åsa Jernudd, for their invaluable remarks on this dissertation. I would like to thank CIMS, for the feedback and bonding opportunities, as well as my colleagues in Ghent and Stockholm. I am very grateful to all of my wonderful friends both at work and in the real world: Eva, Emiljano, Lennart, Susan, Eduard, Sofia, Burcu, Eveline, Larissa, Nikitas, Gertjan, Sander, Jonas, Lies, Sara, Mario, Kim, Jose, Jasper, Gerwin, Toekie, Teun Poppe, Teun Pulles, Stijn C., Jens, Bjorn, Joey, Jelle, Lander, Leslie, Rudi, Olivier, Benny & Melissa, Stijnie, Jozefien, Lyssa, Jochem, Ruben, Jasmina, Hanna, Teresa, Nazeer, Lieve, Coralie, and Maxine. My participants, and Aina Bellis in particular, have been invaluable to this research but also to my life. It has been an honor to talk about Bergman, love, and life. Every conversation will remain with me. Last, my family. Thank you Guy, Jacek, Steffi, Biwi, Moeke, Vake, my uncles and aunts, Inger, and svärfamiljen. I dedicate this dissertation to my two absolute heroines, Jeanne and Nuna; my partner and love of my life, Andreas; and my darling children, Oskar and Viktor. You are my inspirations, my warm nest, my intellectual safe haven. I cherish every moment with you. ix $EVWUDFW (QJOLVK Over the last decades, the new cinema history (NCH) strand has developed within film studies. This new strand moves away from the traditional focus on film texts and instead focuses on cinemagoing as social and cultural phenomenon, and the cinema as a social institution. Although identifying with this strand, the central claim of this doctoral dissertation is that the radical move away from film texts and authors has obscured their relevance in audience experiences within NCH studies. Using the case of Swedish film director Ingmar Bergman, this dissertation first aims to re-integrate the text and auteur into historical reception studies. Second, making use of audience interviews, the aim is to re-write Bergman's canonical position through these audience accounts. Following Staiger (1992; 2000), the auteur is considered to be context-dependent, where societal discourses give rise to specific reception conditions and interpretations. Staiger further claims that the text is important in that it provides "sense-data", but remains rather vague on this point. In this dissertation, the text will be taken into account through the concept of cueing: how certain formal characteristics likely give rise to particular interpretations. The audience interviews were conducted in Sweden and Belgium. Kuhn's work on cinema memory (e.g. 2002) is crucial here. These interviews are triangulated with archival research and textual analysis. The consequences of the comparative setup, Sweden vs. Belgium, is critically considered in the empirical chapter. Key findings are that Bergman's unusual love life and his own persona-building are crucial in the reception of his films. The different national contexts play a role in how participants identify with both the auteur Bergman and the characters in his films. Sweden as a socio-cultural construct returns throughout participants' accounts, illustrating that "place" is relevant to cinema memory in other ways as well. Via the case study on Bergman's Scenes from a Marriage (1973), the dissertation illustrates how audience conceptions of heterosexual love (and marriage) play a fundamental role in the emotional experience of the series/film, and in the memories of that experience too. Considering historical film reception as a complex phenomenon, this dissertation provides a more comprehensive approach to that reception by considering the text and the auteur alongside NCH's traditional focus on context. x 6XPPDU\ 'XWFK New cinema history (NCH) is de laatste jaren als nieuw domein binnen de filmstudies opgekomen. Waar eerder de nadruk vooral lag op film als tekst, gaat de aandacht nu meer naar het bioscoopbezoek als ervaring, met focus op de sociale en culturele dimensies ervan, en ruimer, naar cinema als instituut. Als meest belangrijke auteurs - voor mijn eigen onderzoek maar ook het domein in het algemeen - volg ik vooral Janet Staiger en Annette Kuhn. Het centrale argument van dit doctoraal proefschrift is dat deze radicale breuk met