Carl theodor dreyer vampyr posterior
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Remembering effective horror films of the past
It is the belief, of many film critics and scholars, that horror and suspense movies have declined in quality over the 21st century. This perceived slump is often attributed to poor characterization and an over-reliance on jump scares. Discussed below are five suspense films of the previous century; they hardly ever resort to such methods. They build unease over long periods of time as opposed to forcing it (and forgettably so) for a few seconds. They are brilliantly shot and do not depend on failed reworkings of clichés. They are, to my mind, some of the past century’s peaks in the suspense genre.
In Carl Theodor Dreyer’s “Vampyr” (), a man visits an old inn and begins finding signs of a vampiric presence. Throughout its minute running time, “Vampyr” slowly establishes its settings’ peculiarity through location shooting and long shots – both of which succeed in achieving a more lifelike image, and which Dreyer was a notable practit
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TSPDT
"Though his work is associated with emotional austerity and slow, stately pacing, Carl Theodor Dreyer made films that glisten with blood, sweat and tears; the Scandinavian winter wind may forever howl outside the door, but inside it's a hothouse of conflicting desires and orthodoxies." - Jessica Winter (The Rough Guide to Film, )
Director / Screenwriter / Editor / Production Designer / Producer
() Born February 3, Copenhagen, Denmark
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Key Production Countries: Denmark, Sweden, Germany
Key Genres: Drama, Psychological Drama, Religious Drama, Marriage Drama, Horror, Gothic Film
Key Collaborators: Rudolph Maté (Cinematographer), George Schneevoigt (Cinematographer), Johannes Meyer (Leading Character Actor), Halvard Hoff (Leading Actor), Maurice Schutz (Leading Actor), Hallander Helleman (Leading Actor), Tage Nielsen (Producer), Edith Schlüssel (Editor), Mathilde Nielsen (Leading Character Actress), Poul Schierbeck (Composer), Jens
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Quarto hardcover; black boards with gilt spine titling; pp., monochrome illustrations. Mild foxing to page edges throughout; spotting to text block edges; black illustrated dustwrapper with small tear on upper front edge and lower rear panel. Very good with wrapper now professionally protected by superior non-adhesive polypropylene film. Carl Dreyer fryst vatten recognized as one of the great master stylists of the cinema whose works exhibit his rigorous, austere and powerful filmteknik. David Bordwell analyses how Dreyer confronts the viewer with problems of attention, orientation and narrative comprehension. In the early works, flat tableau compositions alternate with intensely active facial close-ups to shift our attention from physical action to psychological states. In the late masterpieces, Dreyer's style achieves its greatest complexity, compelling us to concentrate on nuances of space and time - in Jeanne d'Arc the close-up and a discontinuous space; in Vampyr, uncertain topograph