Forms of the Intangible: Carl Th. Dreyer and the Concept of 'Transcendental Style'

Research output: Contribution to journalJournal articleResearchpeer-review

Standard

Forms of the Intangible : Carl Th. Dreyer and the Concept of 'Transcendental Style'. / Tybjerg, Casper.

In: Nordic Journal of Media Studies., Vol. 6, No. 1, 2008, p. 59-73.

Research output: Contribution to journalJournal articleResearchpeer-review

Harvard

Tybjerg, C 2008, 'Forms of the Intangible: Carl Th. Dreyer and the Concept of 'Transcendental Style'', Nordic Journal of Media Studies., vol. 6, no. 1, pp. 59-73. https://doi.org/10.1386/nl.6.1.59/1

APA

Tybjerg, C. (2008). Forms of the Intangible: Carl Th. Dreyer and the Concept of 'Transcendental Style'. Nordic Journal of Media Studies., 6(1), 59-73. https://doi.org/10.1386/nl.6.1.59/1

Vancouver

Tybjerg C. Forms of the Intangible: Carl Th. Dreyer and the Concept of 'Transcendental Style'. Nordic Journal of Media Studies. 2008;6(1):59-73. https://doi.org/10.1386/nl.6.1.59/1

Author

Tybjerg, Casper. / Forms of the Intangible : Carl Th. Dreyer and the Concept of 'Transcendental Style'. In: Nordic Journal of Media Studies. 2008 ; Vol. 6, No. 1. pp. 59-73.

Bibtex

@article{ac3f54c0cdb111dd9473000ea68e967b,
title = "Forms of the Intangible: Carl Th. Dreyer and the Concept of 'Transcendental Style'",
abstract = "The book Transcendental Style in Film, written in 1972 by future film director Paul Schrader, offers perhaps the most extensive analysis of how a particular film style might have a specifically religious significance. The article provides a critical discussion of Schrader’s theory, with a particular focus on the films of Carl Th. Dreyer. Schrader’s ideas are compared to alternative explanations of the same stylistic features provided by David Bordwell and Torben Grodal. The article concludes that while Schrader identifies a number of pertinent stylistic features, the ‘transcendental film’ is better understood as a subset of the art film mode. Torben Grodal’s description of the intertwined effect of a salient (often abstract) style and thematic content indicative of higher meaning, coupled with the contribution of a suitably disposed spectator, is, the article argues, more plausible than Schrader’s analysis.",
keywords = "Faculty of Humanities, Dreyer, Carl Th., Schrader, Paul, religion og film, transcendental stil, filmstil, kognitiv filmteori, filmteori, Dreyer, Carl Th., Schrader, Paul, religion and film, transcendental style, film style, cognitive film theory, film theory",
author = "Casper Tybjerg",
year = "2008",
doi = "10.1386/nl.6.1.59/1",
language = "English",
volume = "6",
pages = "59--73",
journal = "Nordic Journal of Media Studies.",
issn = "1601-829X",
publisher = "Nordicom",
number = "1",

}

RIS

TY - JOUR

T1 - Forms of the Intangible

T2 - Carl Th. Dreyer and the Concept of 'Transcendental Style'

AU - Tybjerg, Casper

PY - 2008

Y1 - 2008

N2 - The book Transcendental Style in Film, written in 1972 by future film director Paul Schrader, offers perhaps the most extensive analysis of how a particular film style might have a specifically religious significance. The article provides a critical discussion of Schrader’s theory, with a particular focus on the films of Carl Th. Dreyer. Schrader’s ideas are compared to alternative explanations of the same stylistic features provided by David Bordwell and Torben Grodal. The article concludes that while Schrader identifies a number of pertinent stylistic features, the ‘transcendental film’ is better understood as a subset of the art film mode. Torben Grodal’s description of the intertwined effect of a salient (often abstract) style and thematic content indicative of higher meaning, coupled with the contribution of a suitably disposed spectator, is, the article argues, more plausible than Schrader’s analysis.

AB - The book Transcendental Style in Film, written in 1972 by future film director Paul Schrader, offers perhaps the most extensive analysis of how a particular film style might have a specifically religious significance. The article provides a critical discussion of Schrader’s theory, with a particular focus on the films of Carl Th. Dreyer. Schrader’s ideas are compared to alternative explanations of the same stylistic features provided by David Bordwell and Torben Grodal. The article concludes that while Schrader identifies a number of pertinent stylistic features, the ‘transcendental film’ is better understood as a subset of the art film mode. Torben Grodal’s description of the intertwined effect of a salient (often abstract) style and thematic content indicative of higher meaning, coupled with the contribution of a suitably disposed spectator, is, the article argues, more plausible than Schrader’s analysis.

KW - Faculty of Humanities

KW - Dreyer, Carl Th.

KW - Schrader, Paul

KW - religion og film

KW - transcendental stil

KW - filmstil

KW - kognitiv filmteori

KW - filmteori

KW - Dreyer, Carl Th.

KW - Schrader, Paul

KW - religion and film

KW - transcendental style

KW - film style

KW - cognitive film theory

KW - film theory

U2 - 10.1386/nl.6.1.59/1

DO - 10.1386/nl.6.1.59/1

M3 - Journal article

VL - 6

SP - 59

EP - 73

JO - Nordic Journal of Media Studies.

JF - Nordic Journal of Media Studies.

SN - 1601-829X

IS - 1

ER -

ID: 9250335