Carl Theodor Dreyer

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Carl Th. Dreyer
BirthplaceCopenhagen, Denmark
Film director

Dreyer, Carl Theodor


Born Feb. 3, 1889, in Copenhagen; died there Mar. 20, 1968. Danish director and scriptwriter.

Dreyer began his directing career in 1918. The film Leaves From Satan’s Book (1920) exhibits Dreyer’s striving for the maximal expressiveness of cinema language. In the films The Parson’s Widow (1920, Sweden), Michael (1924, Germany), and Master of the House (1925), whichcriticize the bourgeois way of life and morals, the basic theme of Dreyer’s films is presented—the loneliness of man, who defends his spiritual freedom and is at times doomed to death. This theme is most fully expressed in the film The Passion of Joan of Arc (1927, France), one of the most significant achievements of the silent film. In the films The Day of Wrath (1943, adapted from H. Wiers-Jenssens), The Word (adapted from the play of K. Munk), and Gertrud (1965, adapted from the play of H. Soderberg), Dreyer continued his experiments in cinema language and developed the main theme of his films, which increasingly lent themselves to a religious and mystical interpretation. Dreyer’s documentary films constitute a significant part of his contribution to the Danish art of the cinema.


Om filmen. Copenhagen, 1964.
Fire film. [Copenhagen] 1964.


Sémolue, J. Dreyer. Paris [1962].
Carl Th. Dreyer cinéaste danois, 1889-1968, 2nd ed. Copenhagen [1969].


References in periodicals archive ?
This year, his shots were compared to the styles of European directors Carl Theodor Dreyer and Sergio Leone.
It is directed by Carl Theodor Dreyer, and will feature original music especially composed for the film by Yannis Sfyris, performed by the CSO and the Vocal Ensemble of the Limassol Music Lyceum, and conducted by Matthew Legakis.
Instead, many internationally renowned directors such as Victor Sjostrom, Carl Theodor Dreyer, Ingmar Bergmann and Lars von Trier occupied themselves with real fear and horror in their works.
Por cierto, Camilla, llevada al cine por Carl Theodor Dreyer en 1932, tambien influyo en el cine mexicano con Alucarda (1978), de Juan Lopez Moctezuma.
Au cours de cette 13e edition du FIFM, 40 films classiques et modernes de realisateurs norvegiens, danois, finnois, suedois et islandais ont ete projetes, entre autres [beaucoup moins que]La passion de Jeanne d'Arc[beaucoup plus grand que] de Carl Theodor Dreyer (1928), [beaucoup moins que]L'homme sans passe[beaucoup plus grand que] de Kaurismaki (2002), [beaucoup moins que]Out of bonds[beaucoup plus grand que] de FrederikkeAspE[micro]ck (2011), [beaucoup moins que]Drive[beaucoup plus grand que] de Nicolas Winding Refn (2011).
The 1928 silent film masterpiece "The Passion of Joan of Arc," directed by Carl Theodor Dreyer, and the 1994 composition "Voices of Light" by Richard Einhorn and inspired by the movie will merge for a unique screening and performance by the Assabet Valley Mastersingers at 3:30 p.
Sound did not turn to be the merciless executioner of quality cinema many have feared it to be and several legendary filmmakers such as Carl Theodor Dreyer, Fritz Lang and Ernst Lubitsch who started off in silent cinema found enormous success in the sound era.
Para el caso de Carl Theodor Dreyer, lo mismo que para otros autores tan similares o distintos a el pero igualmente significativos, la configuracion de dicho estilo no responde ni a un asunto meramente formal -un cierto uso de la camara, la utilizacion de determinado tipo de actores, el trabajo de montaje realizado, etc.
Entre esas revelaciones, instantaneas e imborrables, hay una que no cesa: La pasion de Juana de Arco (1928), de Carl Theodor Dreyer.
MICHELANGELO ANTONIONI, who died this past July at the age of ninety-four, will be remembered as one of the greatest visual artists of the cinema, in the company of Sergei Eisenstein, Carl Theodor Dreyer, Josef von Sternberg, and Max Ophuls.
But with ``Million Dollar Baby,'' Eastwood joins the rarefied ranks of the true cinema transcendentals Carl Theodor Dreyer, Yasujiro Ozu and Robert Bresson on the highest plane of directorial achievement.
Defurne, 31, perfectly evokes the aching adolescent longings of gay teenagers while setting them within experimental visual settings--some reminiscent of Pierre et Gilles, others of Carl Theodor Dreyer.