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    Ordet by Carl Theodor Dreyer

    By Dorothea Holloway | July 15, 2013

    The Religious Dimension in the Cinema, with particular reference to the films of Carl Theodor Dreyer, Ingmar Bergman, and Robert Bresson, was the title of the dissertation of Ron Holloway at the University of Hamburg 1977.

    Gestern sah ich im Kino Arsenal, das für sein fabelhaftes “Filmkultur-Programm” und dessen Filmkenner, die oft eine Einführung geben, nicht genug gelobt werden kann, Ordet (Das Wort) Dänemark, 1954, Einführung: Cristina Nord.

    Aus Beyond the Image von Ronald Holloway:

    The cinema of Dreyer has often been compared with that of Robert Bresson, prompted apparently by the slow solemnity with which both unfold their images. In fact, they couldn’t be further apart in attitudes, goals and manner of filming. Bresson works only with nonprofessionals; Dreyer uses nonprofessionals for the bit roles, but relies primarily on actors to work with him in baring the recesses of the soul. Bresson accepts the soul as the vessel of God’s grace and from this standpoint interprets the tragedies that prove God’s love; Dreyer, an agnostic, is moving toward tragedy in his quest to unveil the secrets of the soul. Bresson is an insider looking out, Dreyer an outsider looking in.

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