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 o