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Maaret Koskinen

About me

I am emeritus professor in Cinema Studies, and was the first scholar given access to Swedish writer and film/theatre director Ingmar Bergman’s private papers during the last years of his life, which subsequently lead to the formation of the Ingmar Bergman Foundation. My research interests include authorship, intermediality, and production studies. My most recent book is Ingmar Bergman at the Crossroads. Between Theory and Practice (Bloomsbury Academic), co-edited with professor Louise Wallenberg, which brings international scholars from different disciplines within the Humanities together with practitioners in film, theatre and television production, all in order to explore what theory and practice can ‘do’ for each other. In bridging boundaries between theory and practice, this project also engages in certain issues concerning intermediality while intersecting with the field of production studies. Aside from research, I have served in a number of public positions. For three decades (1981-2011) I was film critic in Sweden’s largest national daily Dagens Nyheter, and in the capacity of critic I have also served as Chair of the Swedish Association of Film Critics as well as member on number of film juries, among them 'Guldbaggen', the Swedish counterpart to the Oscars. In addition, I was Board Member of the Broadcasting Commission 2003-2006, as well as Board Member of the Film Institute 2011-2016, and Chair of the Film Academy 2016-2018. 

Publications

A selection from Stockholm University publication database

  • Ingmar Bergman at the Crossroads: Between Theory and Practice

    2022. .

    Book (ed)

    Ingmar Bergman’s rich legacy as film director and writer of classics such as The Seventh Seal, Scenes From a Marriage and Fanny and Alexander, has attracted scholars not only in film studies but also of literature, theater, gender, philosophy, religion, sociology, musicology, and more. Less known, however, is Bergman from the perspective of production studies, including all the choices, practices and routines involved in what goes on behind the scenes. For instance, what about Bergman’s collaborations and conflicts with film producers? What about his work with musicians at the opera, technicians in the television studio, and actors on the film set. What about Bergman and metoo? In order to throw light on these issues, art practitioners such as film directors Ang Lee and Margarethe von Trotta, film and opera director Atom Egoyan, and film producer and screenwriter James Schamus, are brought together withacademics such as philosopher and film scholar Paisley Livingston, musicologist Alexis Luko, and playwright and performance studies scholar Allan Havis, to discuss Bergman’s work from their unique perspectives. In addition, this book provides, for the first time, in-depth interviews with Bergman’s longtime collaborators Katinka Faragó and Måns Reuterswärd, who both have first-hand experience of working intimately as producers in film and television with Bergman, covering more than five decades. In an open exchange between individual and institutional perspectives, this book aims at bridging the often-rigid boundaries between theoreticians and practitioners, in turn pointing Bergman studies in new directions.  

    Read more about Ingmar Bergman at the Crossroads

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