God.”40 Cawkwell focuses particular attention on the directors of these films, on those masters of the use of religious stories: the Frenchman Robert Bresson, the Dane Carl Theodor Dreyer, the Italian Roberto Rossellini, and the Russian Andrey Tarkovsky. While Anker primarily concentrates on the film “text,” Malone and Pacatte turn to the film “viewer,” Godawa to the film’s “worldview,” and Cawkwell to the film’s “maker.” Here is a range of dialogue across the artistic-critical circle (see chapter