Carl Theodor Dreyer and Ordet

Wahl, Jan

doi:10.5810/kentucky/9780813136189.001.0001

2012

DOI: 10.5810/kentucky/9780813136189.001.0001

|View full text |Cite

Carl Theodor Dreyer and Ordet

Jan Wahl¹

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...

Citation Types

Supporting

Mentioning

Contrasting

Year Published

2019

Publication Types

Select...

Article2

Relationship

Self Cite0

Independent2

Authors

Journals

Cited by 2 publications

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

Queer Derailment and Pederast Adoration in Carl Theodor Dreyer'sMichael(1924)

Malakaj

2019

The German Quarterly

View full text Add to dashboard Cite

Some critics of Carl Theodor Dreyer's Michael (1924) have cast the queer bond between the title character and the master painter Zoret as too frail to warrant a queer designation for the film. Especially Zoret's paternal commitment to Michael in conjunction with Michael's rejection of his guardian in lieu of a romantic relationship to an impoverished Russian aristocrat, Zanikow, was seen as cause to doubt queer aesthetic commitments in the film's narrative. Drawing on scholarship on queer phenomenology, queer failure, and pederasty, this article contends that there is a great deal of queerness residing in the film. It reads Zoret's ardent regulation of Michael's unideal behavior as a response to living life queerly in Weimar Germany in order to show how the paternalistic commitment is in line with pederast adoration, a relational dynamic that also gives access to other queer personal histories embedded in the film.

show abstract

Queer Derailment and Pederast Adoration in Carl Theodor Dreyer'sMichael(1924)

Malakaj

2019

The German Quarterly

View full text Add to dashboard Cite

show abstract

The Fullness of Time: Kierkegaardian Themes in Dreyer’s Ordet

Watts

2019

Religions

View full text Add to dashboard Cite

I offer an approach to Dreyer’s film Ordet as a contribution to the phenomenology of a certain kind of religious experience. The experience in question is one of a moment that disrupts the chronological flow of time and that, in the lived experience of it, is charged with eternal significance. I propose that the notoriously divisive ending of Ordet reflects an aim to provide the film’s viewers with an experience of this very sort. I draw throughout on some central ideas in Kierkegaard’s work, especially his category of ‘the moment.’

show abstract

scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.

Contact Info

customersupport@researchsolutions.com

10624 S. Eastern Ave., Ste. A-614

Henderson, NV 89052, USA

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Blog Terms and Conditions API Terms Privacy Policy Contact Cookie Preferences Do Not Sell or Share My Personal Information

Made with 💙 for researchers

Part of the Research Solutions Family.

Carl Theodor Dreyer and Ordet

Cited by 2 publications

References 0 publications

Queer Derailment and Pederast Adoration in Carl Theodor Dreyer'sMichael(1924)

Queer Derailment and Pederast Adoration in Carl Theodor Dreyer'sMichael(1924)

The Fullness of Time: Kierkegaardian Themes in Dreyer’s Ordet

Contact Info

Product

Resources

About