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.
Due: Wednesday, 10/2
I do not think necessarily that the single, only way that could have made this story powerful is through the use of close ups, however the use of only using close-up and medium shots is what makes this movie powerful and passionate. The use of close-ups creates a feeling of understanding in the viewer that allows them to become passionate for Jeanne and hate how merciless and corrupt the judges in the trial are being toward her. This is all done cinematically with the use of the camera position along with the mise-en-scene.
ReplyDeleteThroughout the entire length of the film, Jeanne and the judges are shown in close-up shots, getting in close in order to expose each character. Looking at Jeanne first, mostly every shot that she is in is an extreme close-up of her face. These extreme close-ups really allow us to get a close look at her expressions and how she is expressed through the mise-en-scene. Her make-up paired with the lighting is an example of how she is portrayed as pure, making her features pure like to show she is innocent. The lighting on her face is very soft, conveying that look of “pureness.” Even at times where there is low-key lighting on her face, like during the scene in which she is about to be tortured, the shadows portrayed on her face aren’t as sharp as say they are shown on the judges’ faces. This allows the viewer to see that she is in a detrimental situation; we can better see the fear on her face, though still letting the viewer know that she is the victim throughout all of this. The make-up shown on her face also is a way of getting that ever so slight reflective glow off of her face. She isn’t dazzled out in make-up because it wouldn’t be fitting, but it seems that make-up could have been used to add to that effective pure like glow that comes from the make-up and the soft lighting. And again, this image of her innocence wouldn’t be so packed into your head throughout the course of the film, if there were fewer close-ups on her face. These close-ups drive the image of her despair and pureness and her helplessness at the hands of the judges. The cinematography also is a factor during these close- ups, because they help us better understand how much that she is the victim in this situation, no matter how evil the judges call her. With the cinematography, we see several instances where Jeanne is shown in a high angle shot. These types of shots convey a sense of helplessness or make the subject seem powerless. In this case, Jeanne is powerless to save herself and still follow the path that God has chosen for her. So during these high-angle close-ups, we feel for Jeanne, recognizing her as a victim trying to follow the path God has set for her, sympathizing with the suffering that she is going through. Also the way she is composed in some shots makes us recognize more that she is a victim of these judges. In some shots, like a shot of her lying in bed, it is a medium shot of her face, but her face is shoved into the lower right hand corner of the frame. She is large enough to be the subject, but so moved to a different part of the frame that the viewer can’t help but notice the strangeness of the shot, how she is composed. Her face being positioned in the lower right hand corner of the frame makes us feel as if she is backed into a corner, so we again get another sense that she is being oppressed by the judges. These cinematic elements may not have been as strong however, if they were done from more long shots, because again we wouldn’t feel that “closeness” to Jeanne that we get from these close-up and medium shots, making us absorb her character easier.
On the other hand, close-up shots are the right choice for the judges as well, because also for them, being up close makes their presence and purpose in the plot of the film more prominent. The close-ups allow us to notice more about the cinematography choices and affect our understanding of the judges, which in the end makes us judge them as cruel towards Jeanne. Getting up-close and personal we can really see the emotions of the judges whilst they are in the process of persecuting and interrogating Jeanne. In comparison to the shots of Jeanne where she seems afraid, or hurt, crying, or extremely emotional, the shots of the judges include mostly that of shouting, yelling, sneering, and giving looks of disgust at and toward Jeanne. These disgusting looks and faces they make, in comparison to Jeanne’s face that is innocent looking, are further highlighted by the low-key lighting, with a source that is underneath. These lights were supposed to capture the ugliness of their faces in comparison to Jeanne’s, shown by editing between shots of her, and shots of the judges shouting at her, being captured in their wrinkles and all the little crevices of their faces, making their faces look extra warped and conveying a sense of evil or corruptness by having the light come from down below. Also, in many shots that show the judges from a low-angle. These shots tend to be so low, and paired with the fact that they are still close-up shots, give the judges both the sense of power over Jeanne, but more prominently make them look unflattering. The shots of the judges from super low, close-up angles give them an unflattering look, which wouldn’t be accomplished with out the use of the close-ups. So close-ups of the judges create the idea, when paired with other cinematic elements, that these are definitely the bad guys and they are the ones that are victimizing the poor Jeanne who is shown to be pure. So the use of the close-ups throughout the entire film amplify the cinematic elements that are used to personify and characters Jeanne and the judges in a way that can not truly be obtained otherwise. It would not have the same effect if other kinds of establishing shots were used. However I do not agree that this is the only way that this film could have been explored and made powerful, but I can not deny that the use of all the close-ups does make this film powerful and emotional.
ReplyDeleteOh and this is essay #2
DeleteIt is always said that in most movies directors like to put their own touch on the film in order to make their point clear. In Ib Monty’s article on the film he discusses how Carl Dreyer uses his own twists to convey his meanings. Ib Monty includes how the close ups used in The Passion of Joan of Arc are used to show the extreme emotion that Joan faced during her trial, as well as the “callous cynicism of the judges” as they proceeded to shut down whatever she had to say and turn down her attempts to believe in her religion. I cannot say that that I totally agree with Ib Monty remarks as to how the emotion could have been displayed in this film though. He states that the only way that such an extreme amount of feelings could only be displayed through the close-ups and medium shots. This is not the only way that this effect can be achieved (dialogue, lighting, color, etc. can be used to display this effect) but in this film it does fit very nicely. The close up and medium shots were very passionate and very powerful, which did fulfill the intent of Carl Dreyer.
ReplyDeleteThroughout the whole movie, Joan of Arc and the judges were displayed in close and medium shots. Firstly, Joan’s emotion is displayed very through this particular shot set up. You can clearly see that she is very hurt by what is happening and how she is being ridiculed. The close ups in the beginning of the movie showing Joan in one position with her face in awe and then of her eyes bulging out are shown in quick succession and each with a different shot composition. Whenever two shots are shown like that with different compositions, the viewer becomes almost confused and discomforted, which is strange because what I took from this film was that the viewer was supposed to feel sympathy for Joan, not discomfort. In contrast to this, the closeness of the camera on her face and the lighting Dreyer used shows how “pure” Joan is, or at least appears. The lighting is low-key to show the softness of her face along with a little shadow to show the despair on her face, but it’s not low enough to completely disperse the emotion from her face. Also through the close-ups you can see the make-up (or the lack thereof) on Joan’s face, which also enhances the emotion and also shows the pureness of her, almost comparing her face to that of a young child who does not wear make-up and one that could not be tried for such crimes as she was.
The judges are also shown in close to medium shots throughout this film as well but they are used in a different way than Joan. There is no doubt about it; these judges were just horribly disgusting looking men. They were old and wrinkly and had moles and very big noses – not a sight anyone would want to see. Dreyer purposefully puts them close up in the frame to show this so that the viewer would be disgusted by them and have sympathy for Joan as she had to go through meeting these horrible men. The same lighting that is used to show that Joan is an innocent and pure woman is now used to show the gruesome reality of the men in the court. Also there is the typical “high angle-low angle” going on between the judges and Joan. The judges are usually shown at a high angle, more so to show that they are a higher ground level than Joan but also to show their superiority over her as her life lies in their merciful hands.
In Carl Dreyer’s “Thoughts on My Craft” he says "Nothing in the world can be compared to the human face. It is a land one can never tire of exploring. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry." He expresses his compassion for the human face especially in The Passion of Joan of Arc using close ups because those shots are the best way to show only the face and, based on his description, in turn, the emotion as well. The actors wear little to no make-up, which allows us to see clearly their feelings through the over acting used in silent films. All of this is to show the viewer the emotional instability that Joan of Arc was facing during this time, and the close-medium shot technique did seem to fit well.
ReplyDeleteWhoops this is essay #2 as well
Delete(essay #2) Roger Ebert recognized the significance of shots used in Carl Dreyer’s “Passion of Joan of Arc.” The entire film was shot in close ups and medium shot’s, and Dryer decided to shoot this way for a very specific reason. He felt that this very minimalistic approach to shooting would, instead of drawing attention to the scenery, setting, etc., the viewer would be forced to absorb the expressions of Joan and her persecutors, as well as their relationship. Even today, not just when the film was released, the presentation of the film in this format is very shocking. The layout of the viewer in question of what the film’s universe even looked like, let alone specific details for it, but the gripping story told on the actor’s faces distracts from this dearth of detail. In fact, this focus, as Dreyer intended, forces us to give all of our attention to said faces, and we get the full effect of every twitch, expression, and emotion that flashes across them. Also, Dreyer plays with the makeup of his characters so that what we see is their souls painted on their faces. The accusers are made to be disgustingly ugly, almost unbearably so. Joan, on the other hand, is kept very clean and natural looking. The bare minimalism of her face reflects her purity, and is very beautiful in its own right. Also, the expressions given to the characters are very important. Joan is eternally portrayed with a steely focus that almost seems to transcend what is going on around her. She knows her goal, and she will do whatever it takes to stay on course and follow things to the end. The judges on the other hand are shifty eyes, and their emotions dance across a spectrum of sneers, deceptive glances, and other dubious things of the sort. With every single last close up shot, we see the building of the judges scorn and downright cruelty toward Joan, and we see the corruption that their greed has brought upon them. As we watch Joan, her unwavering and steely gaze builds our support of her, as no matter what she won’t back down, which garners nothing but respect. Also, the close ups help highlight the physical traits of these characters to help further this character development. Jean has a perfectly smooth and open face. The light reflects off of her face, and this once again reflects not only her purity, but the divine nature of her character. It’s as if the very light of Christ is shining upon her, justifying her course. The judges are starkly opposite to this. The judges are all elderly men, severely wrinkled by age. These wrinkles, as well as heavy set brows, boils, and other deformities, trap the light of the scenes, and turns it into shadow, making the men much more menacing and sinister than they would normally be. Ultimately, this style of editing made the viewer feel as though they were actively participating in the trial. Also, the close ups led to a deep understanding of everyone involved, and allowed us to see the inner ambitions of the characters in a way that regularly editing would not have.
ReplyDeleteEssay#2
ReplyDeleteI pretty much agree with all the perspectives represented in this quote. The all-close-up technique IS shocking. When the film was released in 1928, and now, audiences were and are not accustomed to watching any kind of film media this way. I believe that in any case where a film is shocking to audiences it can be misunderstood. It seems that a shocking technique is almost always either a mistake or a deliberate choice in order to convey some meaning or idea. In this quote Dreyer explains that the shot composition in Joan of Arc is the latter.
The story is sort of earth shattering and shocking and if made like any other movie, with establishing shots, and without all the close-ups, and with clean, easy to understand transitions of typical movies, the gravity of the emotions of Jeanne and the gravity of the contrast between Jeanne and the judges would not have been conveyed. Dreyer was the director of this film. This is the way Dreyer wanted to tell this story- this is how he saw it. I believe it made something memorable and unique, and enduring. Perhaps if someone else had had control of the creative end of this movie it would have turned out very differently and perhaps it would still be a great movie.
However I agree with Dreyer that this was a very effective way to do it. It makes the viewer uncomfortable, as they should be with what they are witnessing. Had he chosen traditional shot progressions, the audience would have been able to sit and passively watch the events. They wouldn’t be so changed at the end. It builds the connection between the audience and Jeanne and it makes for a deep disgust with the judges seen as evil, as well as those seen as bystanders. I also think that the fact that “the style grew out of the theme of the film” is something filmmakers should strive for. The fact that Dreyer had such a connection to the research he did and a dedication to properly telling Jeanne’s story as well as the vision to do so is the way it should be. That is why this is a meaningful work; because he went into making this film with the deeper meaning he wanted the audience to get in mind.
Essay #2: In The Passion of Joan of Arc, extreme close-ups and medium shots were effectively used to broadcast the sincerity and strength in Joan’s testimony against the judges, and how she desperately clung onto her faith and belief in God. Though there are many ways of framing the expressions and emotions of characters, the way Dreyer does it makes it unique and unorthodox, while moving the minds and hearts of the viewers. Cinematically and story-wise, Joan is stunningly conveyed in a sorrowful manner throughout the film.
ReplyDeleteThe repetition of the close-up shot of Joan throughout the film is used to ram Joan’s innocence into the viewer’s head. The judges constantly harp Joan about being an ungodly figure, but because of the sincerity of her expressions heightened by the use of the close-ups, we can’t help but feel sorry for her. Also, many of the shots of Joan are filmed of her looking up at the judges at a high-angle, while the judges look down on her at a lower angle, emphasizing her powerless-ness at the hands of the verdict of the judges. Joan’s makeup and the lighting on her face is very soft and smooth, making her pureness stand out much more, and there is almost no reason to believe by the way she’s presented that she is lying about anything she says. In contrast to Joan, the makeup of the judges is very ugly and impure, showing their wrinkles and warts and other deformities. Also, the lighting on their faces is very harsh, and the shadows on their faces are very prominent, giving them a much more grim look. Hate is already presented towards the judges just by the way they look. While Joan’s expressions are very sad and sincere, the judges can only make grotesque and ugly smirks, laughs, frowns, and glares. One of the judges in the scene where the foolish-looking crown is put on her is even missing teeth, and their ugly figures are heightened by the use of the close-up shots. We can see that dirty thoughts and darkness are present inside of the minds of the judges just by how close the close-ups make us feel to them, and the same goes for Joan, except in her case it’s sincerity and helplessness.
I definitely agree with what was stated in topic #2 because the close-up technique definitely showcased how a sad yet brave woman stood against a great evil, with all of the emotion and feeling of the fight engraved into the heart of the viewer through the expression of the characters. The close-ups made the viewer feel very close to the characters, and by being able to examine their expressions, the viewer is also put into their thought process. Dreyer effectively etches the viewer right into the heat of the emotional and moving battle between Joan and the judges with the use of shot composition.
In “The Passion of Joan of Arc” the close ups definitely lead the audience into the heart and purity of Joan, and the obvious dishonesty of the judges.
ReplyDeleteJoan, when shown in closeups, is shown to be exhausted and depressed by all of the judges’ efforts. This emphasizes her steadfast resilience to her belief in the fact that God spoke to her. Joan in the closeups is either crying, looking beseechingly upwards towards God-pleading him to grant her mercy, looking defiantly towards the individual judges as they call her out on her ‘sins,’ or she is just staring downwards towards the ground as if she was about to pass out from fatigue. These closeups lead the audience to trust Joan and believe that she really did hear God speak and is merely here to deliver the message given to her. Even in the end of the film when she is sentenced to die by burning at the stake for heresy, Joan keeps a face of surrender and exhaustedness. Through this technique of all closeup shots, Dreyer definitely led Joan’s role to be one sympathized and believed. Her sentence is a tragic blow to the universal audience because of how much they were touched by her readable and genuine facial expressions expressed as only close ups can show.
The judges however, when filmed in only closeups, are betrayed by their facial expressions. Most of the judges are enjoying Joan and loathe her and her ‘satanic’ beliefs. The head judge personally sticks out in my mind because of the resemblance of horns that his hairstyle seems to evoke. Many of the judges are dismissive, or angry at Joan’s claim to the god-given message that she’s carrying. When Joan signs the paper stating that she admits that her message was in fact given to her by the devil rather than God, the look of relief among the judges is everywhere. But when she decides to recant that statement and be punished for her steadfastness to her statement the judges seem to begin to believe her and/or pity her, but stick to their sentence anyways. This ultimately leads the audience to hate the judges because of their primary hatred towards Joan’s purity, and then their realization that they’re wrong, but continuing to do what they started to save face.
(#2)
DeleteThe second quote, I believe, is a much better point of view in regard to this film. The "merciless realism" that Dreyer describes is evident throughout the entirety of the film. The extreme close-ups are necessary in order to convey the intense dramatic scene that line this film. It spans the realm of the film, from Joan's passion in her mission from god, to the merciless evil of the judges and citizens watching. The close up on Joan of Arc's face show her innocence, and the pain just hiding under her face (and much more prevalent toward the end of the film, during her final scene alive. The close ups on the judges shows a very different person, to a drastically different effect than that used on Joan. The judges are filmed in bright light, and with the combination of that and the ECU shows their obvious evil, not attempting to hide in the shadows, telling of how the trial was in no way fair, and they abusing this girl to further their insane plan of promoting their own power. Even during the final scene, when Joan is being killed, the camera lingers on her face, keeping it in the viewer's mind and memory for the duration of the film, and long after. This leaves the viewer with a chilling effect, wondering if Joan really did talk to God (dramatic music)
ReplyDeleteEssay #1 Response:
ReplyDeleteThe Passion of Joan of Arc is a pretty interesting film as far as cinematography, and is comparable to the abstract Avant Garde film, Meshes of the Afternoon. One of the most noticeable parts of the film is the extreme use of close-ups on the different characters’ faces. The close-ups allows us to focus on Jeanne d'Arc’s face as she talks to the judges. The dialogue is also pretty simple, one character says something and the other responds. These close-ups are almost necessary because what they are actually discussing is so deep. What also adds to the unsteady feeling of Jeanne d'Arc’s state of mind is the mise-en-scene, which is actually very detailed in the shots where it’s shown the most. Most shots are in front of a blank wall, which is funny because this film had one of the most expensive sets ever built in a European film at the time. The mood of the character’s conversations also change rapidly, which is connected to how the shots constantly change from low angles to high angles, or eye level. The judges are usually portrayed as being more powerful through low angles, and Jeanne d'Arc is shown through high and eye level shots. The cinematographer, Rudolph Maté, was definitely trying to put us in the same emotional position as the characters. Especially at the end when it would cut from the different weapons (at weird angles), to Jeanne d'Arc’s facial expression, and then to what the other characters are doing.MesheJ of the Afternoon is a lot more abstract and experimental when it comes to certain aspects of cinematography and concept. The shots do have matches on action and carry over shots, while in Joan of Arc there aren't many. The lighting and use of shadows creates a large amount of meaning. There is a wider range of shots , and the camera is less static, because this is a dream after all.
Based on the quote from the Ib Monty article, I completely agree with what Dreyer is saying about his film, The Passion of Joan of Arc, s well as what Monty is analyzing based on Dreyer’s explanation. I thought as though it was a combination between the close-ups, as well as the dramatic classical/organ/choral music played throughout the entire film that allow for the audience to emotionally connect with Joan. One example of this is when one of the priests tells Joan she is not a daughter of God but a creature of Satan. The scene cuts back and forth from close up shots of the yelling priest to dramatic close ups of Joan crying after these accusations occur. One of the priests tells another to prepare the torture chamber, and the close-up of Joan’s helpless reaction inflicts emotion in the audience. When the record keeper closes the book and proceeds to walk away, we realize the finality of this decision and the next close-up of Joan shows her closing and opening her eyes. There is a medium shot of the priests walking up the stairs, and another close up of Joan, tears streaming down her face. She shakes her head. This is easily one of the saddest scenes in the entire film. People who don’t understand her and refuse to allow her to act as a messenger of God specifically because she is a woman basically seal Joan’s fate. The raw emotion in her face could only be accurately captured with a close up shot. Any other shot length would not allow for the audience to adequately see Joan’s reaction to what happens. Being able to understand Joan would be difficult because we have all perhaps faced situations where we’ve wanted to stand up for what we believe in, however only in extraordinarily rare cases has any viewer faced death for it. We already sympathize with Joan because she is in a position that any modern audience would automatically perceive as wrong. However, these close ups that show, again, the raw emotion in Joan’s face – her eyes, her mouth, the tears that seem to creep their way down her face as though she is trying to hard to prevent it – all allow the audience to connect with Joan on a more personal level.
ReplyDeleteI completely agree with what is stated in the Ib Monty article. Dreyer's use of close-up and medium shots does lead the minds of the audience into the heart and mind of Jeanne and the judges during the trial. The close up shots that cut from one to the next are shocking for the viewers. Jeanne's face is always right up in the camera, with little to no headspace. Her face overwhelms the camera, which in turn, overwhelms the viewers. This helps to reflect her thoughts and experience. She is upset and being forced to make the choice between death and life. If she chooses life, she goes against something that she believes in. The decision is distressing and obviously, life-changing. The audience can get a better grasp on her emotions because of the camera placement throughout the entire film. The extreme close ups on the judges faces also helps us to get a better feel for them as characters. The shots are very close to their faces, with extremely bright lighting. This conveys that they are overpowering Jeanne, and that they make the final decision, no matter what. The way the camera is put on their face makes them seem intimidating, where as the camera placement on Jeanne's face makes her seem vulnerable and innocent. The audience can sympathize with Jeanne, and grows to loathe the judges as the composition of shots continues throughout the film. Overall, Dreyer's shooting style had a large impact on the audience. Its originality and creativity not only allowed for the audience to connect with the characters on a personal level, but also brought a fresh new look to cinema as a whole.
ReplyDeleteI agree with the Ib Monty article in every aspect of what is sad. I can more than agree with the point brought up that the close up technique was very shocking in the time period, as even after almost a year and a half with working with films, as well as creating and watching many films, I’ve never seen a film use the only close up technique, and at first the movie felt awkward and a little uncomfortable to watch for me. As I watched the movie however, I started to think about why might the director want almost only close ups so I could try and understand why this technique was used. I came up with almost exactly what was stated by Dreyer in the article. The close ups were used to move the audience and also force them to feel the same pain that Jeanne did as well, also done beautifully with the Close up technique as I felt as though I was feeling her pain through most of the movie as well. I feel the close ups in the torture chamber scene was the best example of this. These close ups of the judges face, then cutting to the horrified face of Jeanne, then to the torture instruments really make the audience feel Jeanne pain and nervousness, and the close up technique I almost definitely would use in my films if I wanted the effect of the audience to feel what the main character is feeling.
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