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Joan of Arc (1929) visual analyses - Essay Example

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Name Instructor Course Date Essay, Visual Arts and Film Studies Joan of Arc (1929) visual analyses Introduction Anyone who has watched this film can agree that it is an outstanding masterpiece. It is a kind of silent cinema that informs people both emotionally and intellectually…
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Joan of Arc (1929) visual analyses
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Download file to see previous pages I feel that Dreyer actually did a unique job to develop eloquent interpretations from visual objects to life situations and to other artworks. The use of photography and pictures Dreyer uses a portrait of Mile Falconetti to reveal the faith that guided the lady knight of France. The sadness portrayed in this picture seems very real and at some point, as tears roll down her cheeks, the eyes widen at hearing something from the old, cultured men who question her pitilessly. The interesting part revealed here is that, though it happened 500 years back, when anyone takes a seat in the Little Carnegie Theatre, looking at this extraordinary motion picture, he or she is torn between hate and pity. The face of Mile with her closely collected hair is at first persuasive but startling (Warner 56). Her brown skin, the staring eyes, her lips free from rouge but which look dry, all resemble the girl of the soil. However, as the picture continues, one realizes in the sensitive elements something really magnetic, specifically the irregular glance of hope. Her expression does not tighten a feature, and when she is steadfast in her faith, no movement of the jaws is portrayed, but regularly by her eyes. No signs of revenge or bitterness, but she is confident with the responses to her inquisitors. The photography used by Dreyer pulls ever jot of fury, disdain, and impatience from the soldiers and clerics. The whiplash pulls touching extreme to touching extreme to give the movie its raw authority, but it is positively wearing for the viewer. Personally, I felt drained after watching the movie, which means I was deeply invested in the emotional turmoil by Joan throughout the movie. The use of the camera Mile Falconetti is outstanding in the way she answers questions, and Dreyer darts at different places of the stage with his camera. Sometimes he reveals Jeanne in a turn of the room with the huge heads and tinier heads in the foreground. He brings out something that is happening and then flashes somewhere else to other heads. All this is achieved without fadeouts or dissolves in such an efficient way that whichever the angle from which the scenes are viewed, it is ever satisfactory and not in any way impressionistic or tricky. It is a fact that a curious feat, the way in which this movie is pictured, with its numerous close-ups, it is very thoroughly matched to this specific subject. Nevertheless, the weakness in the film can be seen here, noting that it is doubtful if this screen method would effectively suit any other story (Warner 72). The camera is frequently placed at exaggerated angles, and faces are often cropped so firmly as to forcefully defy a character’s individual space. Further, edits in between shots are mostly had no coherence. This means that the camera could go between the questioner and Joan without minding to care if it seems like they are really facing each other. Since the shots are framed so firmly on every frame, each movement waves into great touching pay-offs. In this sense therefore, interties are almost useless when the camera bores into the soul of every character. I agree that the all-purpose lack of interties actually made the best part of the film and kept the pace from deteriorating. Costumes The Danish director in this film makes the most of long phrases of the costumes or garments of the priest in the foreground on a single side of the barrow’ ...Download file to see next pagesRead More
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