Schrader and the Transcendental Style

I mentioned earlier that I was working my way through Schrader's book, Transcendental Style in Film (available on ABEbooks or Amazon). It analyses the films styles of Ozu, Bresson and Dreyer and shows how by way of form they create a transcendental style.
I have only just begun working my way through the Ozu section. Here Schrader first unravels the personality of Ozu, and his culture, from the transcendental style.

...the common qualities of transcendental style and take the form of three progressive steps.
1. The everyday: a meticulous representation of the dull, banal commonplaces of everyday living...

This quality strips the action of any expression, and in this way differs from what is known as realism. There is no drama, no melodrama. This quality, this silence, prepares the ground for the transcendental.
Ozu was quite famous for his austere style. As his career progressed he used fewer and fewer conventional film techniques.
He almost always placed the camera at the same height, that which the viewer would see another sitting on the traditional Japanese tatami mat. The actor faced the camera directly. The camera never moved.
I wondered how these everyday events differed in the work of more contemporary artists. Think of Kieslowski in The Double of Veronique. Veronique at home, reading a book, dozing in a chair. In interviews Irene Jacob said how these were not the events one described to a loved one at the end of the day. There is no drama or interest. But it is in precisely these mundane events that are filled with feelings and premonitions. These events completed the character.
I need to read more of Schrader to say if Kieslowski is doing something completely different in his work.
I am also reminded of Haneke, and the different way he uses mundane events in two of his films, 71 Fragments of a Chronology of Chance, and The 7th Continent. I have described these scenes earlier, and I feel confident saying that Haneke is not interested in the transcendental. But what is he doing then?

2. Disparity: an actual or potential disunity between man and his environment which culminates in a decisive action.

For the Zen philosopher, like Ozu the tension comes about when man is not one with nature.
In Ozu these disunities might be may be something as dramatic as a character suddenly breaking out in tears (Setsuko Hara), divorced from psychological realism and cause and effect. But Ozu being Ozu the disunities are generally not so dramatic. It may be an ironic comment, such as the Mother in Tokyo Story saying with irony 'what a treat to sleep on my dead son's bed'. The irony is usually a symptom of this disunity, and creates a tension that in a conventional film must be resolved.
The final step is:

3. Stasis: a frozen view of life which does not resolve the disparity but transcends it.

In Ozu's zen universe man is again one with nature, and may be indicated by his codas, those static shots of everyday objects, such as the equipment in the sake factory in The End of Summer. Or the different shots of the vase in the near the end of Late Spring. It suggests another reality beyond the mundane events described early.
Kieslowski seems to describe the transcendental very differently. For example, when Veronique is awoken from her sleep by the light flashing in her eyes. At first she thinks it is schoolboy trick. A boy across the way is playing with a mirror. But when he goes inside the light returns. This technique is very different from Ozu's codas.
I will talk more of this as I go further into the book.