德萊葉因其風格化的黑白影像經常被喻為畫家，然而在他的黑白影片中並非全然無色系，其中暗含著導演對彩色抽象空間的思考，事實上德萊葉式的白讓影片跳脫出黑白片的體系，並且達到愛森斯坦所提出的「顏色作為自治」表達的想法。藉由影像遷徙的觀看方式，本文試圖將德萊葉的白色影像連結到至上主義繪畫的第四度空間，《憤怒之日》裡油彩式的白、《吸血鬼》的霧白和《復活之日》的冷白，各式的白形成一種德萊葉特有的減法影像，並趨近馬列維奇《白底上的黑方塊》的極簡姿態，在此形體逃脫出再現空間，顏色自框中流洩出一股純粹質性的力量；而《貞德受難記》中特寫的白皙臉龐，更發散著如同《白底上的白方塊》的低限與無限概念。在不同質的框之間，不同的零度平面空間非時序地串聯出影像的多重樣貌。

Dreyer's cinematic vision is often regarded as painterly due to his stylistic black-and-white images. However, his black-and-white films are not exclusively achromatic; on the contrary, they are inhabited by one of his major concerns: an abstract color space. Indeed, Dreyer's use of white makes his black-and-white films more than merely black and white, as they seem achieve the ideal of "the autonomy of color" proposed by Eisenstein. In terms of the idea of a "migration of images," this essay intends to bridge two concepts: Dreyer's whiteness, and the Fourth dimension in supremacist paintings. White as that found in oil paintings in Day of Wrath, the foggy white of Vampyr, and the cold white of Ordet, such whiteness is the very essential force at work in the "Subtraction of images" – an approach peculiar to Dreyer, and which suggests that he approaches Malevich's minimalist gesture in Black Square. In Dreyer's cinema, the represented figures transcend the representational function and a pure quality, thus transcending and emerge out of the represented frames. Additionally, the whiteness of the faces in close-up in The Passion of Joan of Arc seems to espouse the concept of the absolute minimum and infinity espoused in Malevich's White on White. It seems likely from these heterogeneous "frames" that a "zero of form" phenomenon could come into being and, one hopes, give rise to a non-linear cluster of images.