Full movie can be found here.
Please choose one essay prompt and write at least 2-3 well-developed paragraphs.
Essay #1 From Roger Ebert's essay on The Passion of Joan of Arc:
"There is not one single establishing shot in all of 'The Passion of Joan of Arc,' which is filmed entirely in closeups and medium shots, creating fearful intimacy between Joan and her tormentors. Nor are there easily read visual links between shots. In his brilliant shot-by-shot analysis of the film, David Bordwell of the University of Wisconsin concludes: 'Of the film's over 1,500 cuts, fewer than 30 carry a figure or object over from one shot to another, and fewer than 15 constitute genuine matches on action.'"
Many avant garde films also do not have matches on action or carryover shots. Compare The Passion of Joan of Arc to one of the avant garde films we watched in regards to editing and mise-en-scene. Use cinematic evidence to back up whatever you state.
Essay #2 From the Ib Monty article I gave you:
"When the film was released, the close-up technique was regarded as shocking. Dreyer defended his method by stating: 'The records give a shattering impression on the ways in which the trial was a conspiracy of the judges against the solitary Jeanne, bravely defending herself against men who displayed a devilish cunning to trap her in their net. This conspiracy could be conveyed on the screen only through the huge close-ups, that exposed, with merciless realism, the callous cynicism of the judges hidden behind hypocritical compassion--and on the other hand there had to be equally huge close-ups of Jeanne, whose pure features would reveal that she alone found strength in her faith in God.' As in all of Dreyer's major films the style grew out of the theme of the film. In La passion de Jeanne d'Arc Dreyer wanted 'to move the audience so that they would themselves feel the suffering that Jeanne endured.' It was by using close-ups that Dreyer could 'lead the audience all the way into the hearts and guts of Jeanne and the judges.'"
Agree or disagree with this quote. Use cinematic evidence to back up whatever you state.
That YouTube Video has been made private. Here is a link to the film with the same soundtrack, Voices of Light by Richard Einhorn, found on Free Movies: The Passion of Joan of Arc.
ReplyDeleteHowever, there are no subtitles.
DeleteThank you, Lucy.
DeleteIn The Passion of Joan of Arc (1928), Carl Dreyer uses very discontinuous editing to portray Joan’s emotions and understanding of the situation—or lack thereof—that she is in. A main feature of this film is that the shots constantly switch back and forth between close-ups of the judges and of Joan during her interrogations. We never see the whole spatial picture that composes the mise-en-scène, just like Joan never fully understands the big picture of what the judges are rambling about. She knows her part to play, and that’s as the will of God.
ReplyDeleteAdditionally, these trials are rather traumatic to her, so the fragmented and jumpy cuts we see on screen are limited to her fragmented and jumpy understanding of the situation. One example of this is the torture room scene, where the camera quickly cuts from the wheel to the man to the judges and back to Joan’s face. As Eric Snider says in his article, “As the wheel turns faster, the editing gets faster.” While the first three shots speed up, the last one lingers on Joan, indicating that her clarity of the situation is growing as the threat of torture grows more pressing. During the scene of the fire, the shots jump around between Joan at the stake, the crowds, and the doves in the sky. Once again, there are very few carryover action shots that might indicate one seamless experience. Joan’s mind is understandably fragmented as she awaits her painful death by fire.
Similarly, Luis Buñuel’s Un Chien Andalou (1929), made only one year after, uses quick cuts and jump cuts to portray the confusion of the characters. In this film, the speed of the editing ebbs and flows as the action does. The editing speed is slower after the woman escapes and goes for a walk on the beach with her presumed lover. When the man is pulling the pianos toward the woman, the editing speed quickens, switching from shots of the man, the woman, the dead deer, and the clergy tied to the pianos. The whole scene is quite absurd and the abrupt cuts might symbolize the woman’s confusion as she doesn’t know where to look first. This ebb and flow of editing is present in both films, although where in Joan of Arc the moments of increased tension are mostly mental, the moments of such tension in Un Chien Andalou have more physicality to them.
However, compared to Joan of Arc, this film has establishing shots that allow us to orient ourselves and there are more match on action shots to help with that. Scenes that do this include when the woman goes outside to help the man in the maid’s outfit and when a second man enters and tells the first man to stand against the wall for wearing maid’s clothes. Despite this, there are still many fades and jump cuts between shots where the editing is not continuous. There are two notable jump cuts that are examples of this, the first of which is when the woman closes the door on the man’s hand. On the man’s side of the door, he is pushing against the door with his hand through the left side. On the woman’s side his hand should be on the right but it is again on the left and she too is pushing the door. The second time is in the last scene when she waves off to the right at a man who looks back at her off to the left. The next shot is her entering from the right side when we would have expected her to enter from the left. These two shot transitions are part of Buñuel’s design to create confusion in his dream-like film short, just like Dreyer’s jump cuts caused confusion for us and for Joan.
Oh, and this is for Essay #1.
DeleteEssay 1
ReplyDeleteThe Avant Garde film movement was characterized by a predominant rejection of the more orthodox methods of filmmaking for a greater focus on creating pure Art. The experimentation of this era frequently led to the production of Surrealist or Dadaist films, which would also veer against expected narrative conventions to create truly dreamlike or disturbing films. Luis Bernel's short film "An Andalusian Dog", for example, is known for its abstract imagery and warped sense of reality. However, not all the films that came from this movement were purely radical as this. From this experimentation arose Carl Dreyer's "The Passion of Joan of Arc", whose innovative approach to cinematography would create one of the most empathetic and powerful films of the silent era.
While "The Passion of Joan of Arc" holds a straightforward narrative compared to the disjointed surrealism of "An Andalusian Dog", its cinematography is utilized to a much more unconventional degree. Nearly every shot in the film is a close-up, and rarely are actions or settings established throughout the film. Most shots instead focus on the faces of each character, showcasing their emotions in such a close and interpersonal manner the audience gets an almost uniquely personal understanding of the situations at hand. We understand Joan's situation because, as we are subject to close ups of sneering, apathetic or vitriolic judges, their wrinkles and blemishes so close they appear inhuman, we feel ourselves subjugated to the same hellish scrutiny as Joan. In Joan herself, we see her eyes change from fanaticism to sorrow in seconds, and under the circumstances we empathize with her in a way uncanny to cinema. And in the Mise En Scene, from the scene where doctors pierce Joan's vein to drain her sick blood to the horrific torture scene where we only see the machines move quicker and quicker in montage, we find ourselves in the Joan's own shoes. It's important to consider how one of the only scenes that break from this pattern of connection is the final scene, wherein Joan is burned at the stake. The camera moves with weight as guards are tossed flails to combat the restless peasants, and the scene of the riot utilizes the most consecutive medium shots of the film. This itself shows the importance of Joan's martyrdom. With her gone, we have noone else in the story to connect to, only the carnage that she fought against.
Compare this surrealism in cinematography to "An Andalusian Dog". While undeniably a less coherent film, it still utilizes a more conventional standard of consistency in its camerawork, and instead uses its editing and props to create the absurdity. Establishing shots are used correctly as we are given appropriate distance from the characters. When close ups are used, it's frequently done to disturbing effect-to see the ants crawl out of the man's hand, for example, or to see his sadistic arousal plainly on his face later in the film. This is not to say that editing and aspects of film are not used at all, however. The opening of the film utilizes three shots-a razor going across someone's eye, a similar image of a cloud across the moon, and a shot of a cow's eye being split open-to imply a specific disturbing circumstance to the audience without actually showing it. A later shot uses a shaken martini glass to imply a doorbell. Visuals and edits are used to imply confusing and disjointed narrative threads without requiring actual shots-but by and large, the camerawork itself remains utilitarian.
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ReplyDeleteEssay #2
ReplyDeleteI agree with this quote from the Ib Monty article regarding the 1928 silent film, The Passion of Joan of Arc. The quote discusses the effects of the experimental close-up technique implemented by Dreyer. The close-up and extreme close-up shots were repeatedly used in combination with high or low angles, depending on which character was on screen. Often times, Joan is looked down upon by the camera, implying that the judges are looking down upon her as well. The judges, on the other hand, are usually shown from a low angle, which asserts their power and strength over the poor woman. The use of the two types of angles emphasizes the message derived from the quote. The cinematography places the judges in an authoritative and almost evil light. In contrast, Joan is able to appear scared and tense, although innocent.
Although I mainly agree with the statement, there is a certain aspect of it which can be left up to interpretation. The phrase “pure features” is quite vague and can have many different meanings. My understanding of it, however, is that Joan resembles a biblical figure, or even more specifically, Jesus. Her looks were similar to Christ as he was depicted in older paintings, with lightly-colored, sorrowful eyes. She even wears a crown at one point in the film. The close-up technique truly accentuates her “pure features” as well as her emotions. Feelings such as terror, sadness, and comfort are easy to pinpoint, primarily through the expressions she makes with her eyes. They are, after all, the windows to the soul. Overall, in my opinion, the quote is accurate in describing the effects of Dreyer’s interesting and stirring style.
Essay 2
ReplyDeleteIb Monty presents the idea that Dreyer’s heavy usage of extreme close-ups in “The Passion of Joan of Arc” both “exposed, with merciless realism, the callous cynicism of the judges hidden behind hypocritical compassion” and the “pure features” of Joan which “reveal that she alone found strength in her faith in God.” I agree with this sentiment, as the extreme usage of close-ups creates tension between the judges and Jeanne that cannot be relieved by an establishing shot. The close-ups, in conjunction with the costume/makeup design (or lack thereof), establish the judges’ as the antagonistic and corrupt side of the story. Their kind, almost pleasant veneer at the start of the trial deteriorates into a brash, sweaty, and violent attitude by the end of the trial. Joan’s onscreen presence, especially in close-up shots of her, juxtaposes that of the judges. She maintains a pleasant and polite demeanor throughout the trial and beyond, which unlike that of the judges initially, is sincere. Also unlike the judges, who have rough features and sweat profusely, Joan maintains a clean and pure image, as well as a straight face.
Much of what informs Monty’s opinion appears to be steeped in Biblical allusions, which is a crucial aspect to the plotline of “The Passion of Joan of Arc”. Monty seems to believe that Dreyer is painting Joan as a Christ figure, as is evident by her unmoved faith with God despite her being harassed and tortured by her prosecutors. Dreyer creating the image of Joan being burned at the cross also draws parallels with the death of Christ. Understanding these biblical allusions is crucial in understanding what informs both Dreyer’s cinematic choices and Monty’s comments on the film.
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ReplyDelete(Essay #2)
ReplyDeleteI personally agree with this quote by Ib Monty. The close up shot is arguably one of the most important techniques used in The Passion of Joan of Arc to tell the story. Close up shots in this film not only serves to get the audience closer to the subject, it also serves the purpose of forcing the audience into an uncomfortable situation. When close ups are used the audience is unable to “escape” and are forced to feel as uncomfortable as Joan of Arc feels in the film. We’re forced to observe and experience the feelings she has more intimately and like Ates mentioned in class, looking at someone at such a close distance can become awkward and uncomfortable after long enough which is the same feeling the cinematography of this film gives us.
Towards the middle of the film, there is a scene where Joan is being introduced to a torture device. This is one of the scenes where the close up is most effectively used. This scene is intense due to shots of the device being cut between close ups of the harsh, intense faces of the clergymen, and close ups of Joan’s terror struck face. Since the audience is forced to experience the extreme uncomfortability Joan is feeling in this situation, her strength and faith in God is greatly emphasized as she did not give in to the clergymen trying to sway her decision, even in the face of death. Using wider shots in this scene and even throughout the film as a whole would not have been able to express this idea as effectively as the intimate close ups did.
I agree 100% with Ib Monty’s essay on “The Passion of Joan of Arc.” The close up is certainly the most effective cinematic technique used in the film to portray the true emotion of the story. The use of the close up in this particular film takes the viewer from simply watching a film to being up close and personal experiencing the events that took place first hand. The general cinematography, including the close up, creates a truly uncomfortable and awkward sense as you are watching the film. The emotion created by this discomfort is what makes this film so powerful.
ReplyDeleteThe quote from the essay “In La passion de Jeanne d'Arc Dreyer wanted 'to move the audience so that they would themselves feel the suffering that Jeanne endured.' It was by using close-ups that Dreyer could 'lead the audience all the way into the hearts and guts of Jeanne and the judges.” resonates the most with me personally, as this is truly what I experienced as I was watching the film. I was amazed that I could feel that much emotion solely through a combination of cinematography and narrative.
In regards to Dreyer’s close-up technique in The Passion of Joan of Arc, I find myself agreeing with this quote. The method he utilized was essential in depicting the essence of pure emotion and faith that Joan had and also to expose the corrupt judges and religious leaders. The close ups reveal the hypocrisy of the men and portray their ruthlessness and how they mercilessly treated and degraded Joan. In response, the close ups of Joan were used to illuminate her innocence, purity, and strength which provided a stark contrast to the negative portrayal of the judges. In fact, these close ups actually worked to provide the viewer with a sense of what Joan was going through: pain, suffering, and feelings of entrapment. The viewer cannot help but to feel exactly what Joan is experiencing and relates to her sentiments of pain. Her eyes are always wide open in fear as she is barely able to speak,. She is generally placed in the center of the frame. This is all done to emphasize her innocence. Although most of the close ups of Joan are eye level, there are also instances where a relatively high angle shot is used. This was done in order for the viewer to feel as if they were looking down on her in the same manner that the corrupt men were doing as they interrogated her and outwardly degraded her.
ReplyDeleteOn the other hand, the close ups of the men juxtapose the close ups of Joan. Every meaning established by the close ups of Joan are the exact opposite for men. Whereas she is innocent, pure, and terrified, the men are extremely corrupt, hypocritical, and almost taunting individuals. Often times in this film, the close ups of the men are shot from a low angle. This is specifically done in order to reassure the viewer of the men’s authority and unlimited power they have over Joan. Not only that, but the high angle shots also add to the men’s characterization of superiority, perhaps even providing a bigger theme to the nature of all men in general.
The close ups show the audience exactly what Dreyer wants them to see. In this case, Dreyer chooses to expose the conspiracy and invoke the pathos attribute in the viewer. He creates empathy in the audience for Joan and causes them to relate to her feelings especially to her sentiments of fear. He successfully leads the viewer into understanding Joan’s pain, suffering and fear.
Essay #1
ReplyDeleteI agree with Dreyer completely. The method, although odd at the time and easily still so today, did achieve his intended goal. The film definitely achieves a great sense of personal (and much more intense) emotion through its use of close, intimate framing. The effect acts as a great compliment to the natural appearance of the makeup-less actors, who, in their au naturel state draw more investment from the viewer on account of their heightened relatability.
The scene I draw particular attention to as my proof is the end. As Joan burns on the cross the close ups of her tears as she burns, accepting her fate make the scene more painful. Seeing this from a further distance would distance the audience from the experience a bit, causing them to view the moment as Joan the martyr, set up to burn for her beliefs. And of course, she is. But there’s no attachment when one sees it as such. But rather, by using close up shots of her teary face as tendrils of smoke caress her face we feel her anguish. We feel the accumulation of all of the poor treatment and ridicule she’s been through throughout the trial to then lead to this. It goes from “that’s awful, that poor girl” to “this is awful!...” I at least find myself much more at a loss for words when viewing the scene and attempting to comment on it, as watching her willingly sit their peaceably and burn alive as the judges look on triumphantly I feel rage. From a distance, I would despise them. But because I viewed the whole thing in a second person close enough to feel like first person, I want revenge. I am mad. Because I identify with the heroine.
Essay #1
ReplyDeleteWhen comparing “The Passion of Joan of Arc” (1928) to another avant garde film, such as “Le Ballet Mécanique” (1924), you may find a lot more differences than similarities. Between the two films, they do share the fact that they both don’t have many matches on action, but not much else. In “The Passion of Joan of Arc”, even though it’s lacking in matches on action, it’s not lacking cohesiveness like “Le Ballet Mécanique” is because the cuts in the 1928 film are typically made from one person talking in frame to another, there is still that fluid continuous conversation happening that strings the cuts together. But in “Le Ballet Mécanique”, the cuts seem a bit more random and it’s not so clear what exactly it’s supposed to be about.
When it comes to the mise-en-scene in both films, they are drastically different. This is mainly because the mise-en-scene in “The Passion of Joan of Arc” is more obviously consistent, even though there is no establishing shot, you still see that consistency of the time period and the characters the actors are trying to portray. You also see a lot of the same people in frame over the course of the film, making the audience accustomed to who they are. In “Le Ballet Mécanique”, the mise-en-scene isn’t really established due to the fact that most of the shots have almost nothing to do with each other. And yes there are repeated shots, where you see a subject in frame more than once, like in “The Passion of Joan of Arc”, but that alone isn’t enough to let the audience know who/what is in frame and why.
As soon as in close proximity ups utilized, it truly is generally performed to here help worrisome effect-to view the ants investigate outside the person's give, one example is, so they can view his or her sadistic arousal clearly with his or her experience in the future from the picture. This may not be to mention of which touch-ups in addition to tasks of picture will not be utilised by any means, even so. This launching on the picture works by using several shots-a electric shaver intending all over someone else's eyes, a comparable photograph of any cloud along the moon, as well as a opportunity of any cow's eyes currently being divide open-to mean a selected worrisome predicament towards crowd devoid of basically featuring the item.
ReplyDeleteI agree with the quote from the Monte essay. The close-ups in “The Passion of the Joan of Arc” were strategically used to show Joan’s suffering and struggle against the male judges. Because of the fact that Dreyer would not allow the actress to wear make up gives us a raw view of her face when the camera shows us close up shots of her. When she is being interrogated we see her initial fear. The judges are trying to trap her into saying something wrong or prove her to be false in her statements. As the scene progresses we see the fear change into her trust in her God as she begins to smile at times, truly proving her trust and unwillingness to be swayed no matter how hard the judges try. Dreyer uses these close-ups not only to show the evil intentions of the men with their cunning smiles, but also how Joan’s true belief begins to confuse them and make them briefly doubt what they believe is true.
ReplyDeleteDryer also uses these raw close-ups to move the audience so that they feel Joan’s suffering. The close-up of her on the chair during the interrogation shows the tears that well up in her eyes, which makes the audience feel sympathy for Joan as well as giving them evidence that Joan truly believes steadfastly in God, otherwise why would she sit and endure the torture from these men. Then the scene where Joan is on the cross Dreyer shows us close-ups of Joan again to draw the audience more into her suffering and “lead the audience into the heart and guts of Joan”. We see how pure her heart is and resent the evil will that the judges carried out on her. The close-ups of the audience watching begins to elicit anger out of the audience for now they feel as though they have suffered with Joan and feel she doesn’t deserve the suffering brought upon her.