Interestingly enough, the Deleuzian argument of a narrative rooted in images rather than in language (29) was also articulated by Carl Dreyer almost half a century earlier while discussing the specificity of the film medium in his writings “Réflection sur mon métier”. According to Dreyer, “C’est normal car les gens pensent par images, et les images sont la principale composante du film” (105). Dreyer’s works such as Jeanne d’Arc (1928), Vampire(1932), Days of Wrath (1943) appear consistently focused on the aspect of faceity constructing a specific affection-image that explores perhaps people’s strongest feeling - the fear of death. That is why the formalist treatment of the narrative in his film inevitably raises the ‘problem’ of “disunity” and “obscurity”. Image of death in Dreyer’s films becomes not only predominant visual motifs but also, and most importantly, unfolds as an intrinsic element of the narrative.