Paul Matthew St. Pierre

Cinematography of Carl Theodor Dreyer

Performative Camerawork, Transgressing the Frame

• Gebundenes Buch

Produktbeschreibung

Carl Theodor Dreyer was a visionary director whose films were based less on his screenplays than on his preconceptions, his complete formal, aesthetic cinematic projections of the films he deputized actors, cinematographers, and crew to produce. Cinematography of Carl Theodor Dreyer examines the life and work of a brilliant director and visionary.

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Produktdetails

• The Fairleigh Dickinson University Press Series in Communication Studies
• Verlag: Fairleigh Dickinson University Press
• Seitenzahl: 312
• Erscheinungstermin: 19. November 2018
• Englisch
• Abmessung: 235mm x 157mm x 23mm
• Gewicht: 659g
• ISBN-13: 9781683931003
• ISBN-10: 1683931009
• Artikelnr.: 53924595

Autorenporträt

By Paul Matthew St. Pierre

Inhaltsangabe

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