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its care and sincerity, all its pictorial and physiognomical interest, and all its power as a narrative, must be regarded as being in no way contributory to the main stream of cinematographic development. It is magnificent, but it is not "cinema"', said the Film Society (London) programme in November, 1930. Paul Rotha said that the beauty of its individual shots 'was in direct opposition to the central aim of the cinema, in which each individual image is inconsequential in itself, being but a part of the whole vibrating pattern'. Admittedly Dreyer's almost constant use of the close-up in his film did not fit any of the theories of film-making approved at the end of the silent period; but in retrospect it can be seen, not as the over-exploitation of one aspect of camera technique, but as an essential aid to Dreyer in the treatment of his subject. His aim was to bring the spectator into as close a relationship as possible with Joan in her physical agony and spiritual torment. He saw the drama in terms, not of crowd scenes and mass emotions, but of intense feelings revealed on a few faces. His use of the close-up to concentrate his drama must have seemed as inevitable to him as the use of a panorama is to the director of a Western.
The Passion of Joan of Arc, which reached the cinema simultaneously with the first sound-films, provides a convenient point at which to interrupt this consideration of the cinema in Denmark and to look at developments in Sweden.