Paul Matthew St. Pierre is a retired professor from the Department of English at Simon Fraser University.

Acknowledgments

Chapter One: Carl Theodor Dreyer, Transnationalism, and the Visual Grammar of His Films

Chapter Two: Film Direction as Cinematography by Proxy: The Visual Aesthetics of Carl Theodor Dreyer

Chapter Three: Dreyer's Incipient Style, Actors as Surrogate Orphans, Film Stock as Skin: Præsidenten, Prästanken, and Blade af Satans Bog

Chapter Four: Dreyer's Optical Center: The Focal Length of History in Elsker Hverandre (Die Gezeichneten) and Der Var Engång

Chapter Five: Prohibitions Against Love: Dreyer's Gender Transgressions and the Transverse Frame in Mikaël

Chapter Six: Dreyer's Angle-Reverse-Angle Perspectives on the Action Field of Internalized Space in Der Skal aere din Hustru

Chapter Seven: The Dissentient Camera in Glomdalsbruden, Dreyer's Adventure in Improvisational Filmmaking

Chapter Eight: Still Point, Turning World: Dreyer's Close-Ups and Camera Movement in La passion de Jeanne d'Arc

Chapter Nine: Dreyer's Aberrant Sympathetic Camera Movement as Performative: The Perspectivity of Vampyr

Chapter Ten: Maxims and Minims of Camera Mobility: Dreyer's Performative Cinematography in Vredens Dag

Chapter Eleven: Angles of View, Fields of Action, and the Avant-Garde in Två Människor and Ordet

Chapter Twelve: Disruptive Two Shots, Dirty Singles, and Dreyer's Transgression of the Field Size in Gertrud

Conclusion: The Avant-Garde Cinematography of Carl Theodor Dreyer: His Contributions to Cinema

Filmography

Works Cited

Index

About the Author