Cinematography of Carl Theodor Dreyer

Performative Camerawork, Transgressing the Frame

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts, Art & Architecture, General Art, Art Technique
Cover of the book Cinematography of Carl Theodor Dreyer by Paul Matthew St. Pierre, Fairleigh Dickinson University Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Paul Matthew St. Pierre ISBN: 9781683931010
Publisher: Fairleigh Dickinson University Press Publication: November 19, 2018
Imprint: Fairleigh Dickinson University Press Language: English
Author: Paul Matthew St. Pierre
ISBN: 9781683931010
Publisher: Fairleigh Dickinson University Press
Publication: November 19, 2018
Imprint: Fairleigh Dickinson University Press
Language: English

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father’s name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance—sets, lighting, photography, shot breakdowns, editing—and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father’s name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance—sets, lighting, photography, shot breakdowns, editing—and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.

More books from Fairleigh Dickinson University Press

Cover of the book Benjamin Franklin's Intellectual World by Paul Matthew St. Pierre
Cover of the book Roger Waters and Pink Floyd by Paul Matthew St. Pierre
Cover of the book Femininity and Authorship in the Novels of Elizabeth von Arnim by Paul Matthew St. Pierre
Cover of the book Exile in the Maghreb by Paul Matthew St. Pierre
Cover of the book Gendered Frames, Embodied Cameras by Paul Matthew St. Pierre
Cover of the book Town and Gown by Paul Matthew St. Pierre
Cover of the book The Annotated Works of Henry George by Paul Matthew St. Pierre
Cover of the book Embodiment in the Semiotic Matrix by Paul Matthew St. Pierre
Cover of the book Mormon Women’s History by Paul Matthew St. Pierre
Cover of the book Race and Hegemonic Struggle in the United States by Paul Matthew St. Pierre
Cover of the book Italian Prisoners of War in Pennsylvania by Paul Matthew St. Pierre
Cover of the book The Riggs War, 1913 to 1916 by Paul Matthew St. Pierre
Cover of the book The Next Thing by Paul Matthew St. Pierre
Cover of the book Romantic Appropriations of History by Paul Matthew St. Pierre
Cover of the book Why Do We Go to the Zoo? by Paul Matthew St. Pierre
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy