The Aesthetics of Passion and Betrayal

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The Aesthetics of Passion and Betrayal

In The Passion of Joan of Arc, Carl Theodor Dreyer uses the visuality of spatial relationships in each shot with the human face and its ability to convey unspoken emotion in his portrayal of the demise of Joan of Arc. Unlike most film, the message is almost entirely told by just the eyes and expressions of the actors. There is very little reliance upon props and background. The camera angles and close-up shooting accentuate emotions and reactions. The editing style is almost methodic in keeping the emotional pace; it is much like an argument, alternating images of Joan’s tenacity, and the judges’ contempt. The artistic elements of the film are found in the subtle elements of the setting in contrast with the story that is realized by looking into Joan’s eyes as she witnesses her lifelong beliefs condemned and destroyed by her martyrdom.

The stylistics of Dreyer’s vision in The Passion of Joan of Arc are unique in that they cannot be characterized by one particular conventional style or definition. Joan’s beliefs and character are often described as being transcendent. Transcendental style came about in the artistic world as a way to portray that which is considered “Holy” on a more elevated level. In many cases, especially in film, transcendental style can leave a film slow in pace, and create a lack of empathy for the characters and their plight. Dreyer therefore must not be concentrating on the transcendental style alone since the film is methodic in pace and the audience easily feels the grief Joan is experiencing.

There are at least 2 other major stylistic influences at work in The Passion of Joan of Arc. According to Paul Schrader, “Each of Dreyer’s individual film “styles” is, to be more accurate, a synthesis between three basic and opposing styles at work in his films. In order to define Dreyer’s aesthetic, one must confront to opposing artistic schools: the Kammerspiel and Expressionism.” The Kammerspiel or chamber-play style concentrates on just the basics, placing reality front and center. This is most evident in the concentration Dreyer places in the close ups of the faces. The expressionist style is less evident since the power of reality is what is most important. The expressionist elements are found mostly in the sets. German Expressionist master Hermann Warm who designed the wildly dist...

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... different angle. Dreyer did exactly this in his portrayal of the trial of Joan of Arc.

For me The Passion of Joan of Arc was artistic because it was powerful emotionally, and accurate in its distinctive approach to the story of a saint. The oppression displayed by the judges made anger an easy emotion to feel. The emotions can also encompass the ideals the judges represent. I found it easy to feel anger towards religion as a whole, but it also made me think about Joan’s plight and what might have been done to accept her. In my opinion that is what art does best; it makes you think about your own ideals and how your emotions affect your view of the world around you.

Bibliography:

The Aesthetics of Passion and Betrayal

Bibliographical Information

Carl Theodor Dreyer, Four Screenplays; Translated by Oliver Stallybrass ã1970 by Indiana University Press, Bloomington

Paul Schrader, Transcendental Style in Film: Ozu, Bresson, Dreyer ã1972 by University of California Press, Berkeley

W.S. Scott, The Trial of Joan of Arc ã1956 by The Folio Society, London

David Bordwell, The Films of Carl-Theodor Dreyer ã1981 by University of California Press, Berkeley

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