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

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.