Sunday, September 22, 2013

Visual Language

As I watched The Passion of Joan of Arc I thought about how unique it is in a silent film you are left to comprehend the story with only your visual observances, and then provided with a few varying subtitles to fill in any gaps. But still, you’re left with only having the physical actions/gestures of the characters. All at once someone who only knows French, or only knows English, or maybe can’t hear or speak at all can all understand the same movie. That is because there is no language barrier, you get pure action. I think something that can unify something like that is pretty amazing to me. I didn't read the assigned readings until after the movie. I found it interesting that In the beginning of “Metaphors of Vision” Brakhage talks about the same phenomena of understanding things, actions, emotions without word. I found it so interesting the first paragraphs I read are thoughts I had when viewing the film. 



The movie does this through the way the scenes are portrayed on screen. Throughout the entire movie, you rarely see what Joan is actually doing. You don’t know if she is twiddling her thumbs, sitting with her legs crossed, or even wearing shoes. You don’t know those things because you’re never shown them. Throughout the entire movie we’re only dealing with Joan’s face, which shows us more important things than what she’s doing with her hands. Thanks to the close ups of Joan we get to see her emotions, through the raising of her eyebrows, through the watering of her eyes, through the squinting of her face. We get to see how she is feeling. 
It is the opposite with the other characters though. Every now and then we get a close up of someone besides Joan, mainly showing scowls or looks of disbelief. We see the other characters and the things they are actually doing. Other than the general feeling of anger and outrage towards Joan, we don’t see any of their emotions. We never know how they individually feel.


Its all so perfect though, the points of view we get from the film. The camera shows us Joan’s emotion, which is what we are wanted to see, how she felt, her suffering. Then when it comes to all the other characters we only see their actions, which is all we are supposed to see, their feelings aren’t what we’re expected to care about. We’re supposed to care about how their actions against Joan have made her feel, and subsequently how we feel. We’re shown the writer’s feelings about the story of Joan of Arc through his and the director’s decisions on what angles to view the scenes. 

4 comments:

  1. Mahalie,
    I agree that the close-ups of Joan's face are used to allow the viewer to experience her emotion. However, you also said that the lack of numerous close-ups of other characters in the film keeps us from understanding their emotions, besides those of anger or disbelief. I have to disagree with you on that. Some of the close-ups of the judges struck me as expressions of unrest at the sight of Joan's torment. Although most of the judges sided against Joan, I believe that Dreyer included close-ups of these men to indicate that not everyone was completely against Joan. Although the majority thought she deserved to be burned at the stake, there were a few who had reservations; however, these few would not voice their opinions about Joan's fate for fear of putting their own lives in danger.

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  2. I'm going to agree with Emily on the close-ups of other characters. I often felt the multitude of close-ups of the other characters showed the varying opinions of Joan in the courtroom. We saw images of anger, disbelief, disagreement with her trial, support of Joan, torment for Joan, mockery toward Joan. I believe we got the feeling that not by any means was it a unanimous disagreement with what Joan was professing. The majority did seem to be poking fun at her (maybe similar to how Jesus was teased during his passion), or angry that she would profess such blasphemy, but I would say that close-ups of other individuals portrayed the emotions of the majority of the individuals in the room.

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  3. Going off the other two comments, I felt that some of the best shots of the movie occurred shortly after Joan renounced her renouncement and many of the judges came to hear the news from her. By that point, they seem almost in awe and respectful of Joan's choice, one of them is crying, and the main one has to walk away without saying anything. This shift occurs due to the fact that they were no longer having to persecute her, she was safe from death, yet chose it anyway. This seemed to generate respect for her, as they could relate to the idea of choosing death to defend what they believe in.

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  4. I like this, "...through the raising of her eyebrows, through the watering of her eyes, through the squinting of her face. We get to see how she is feeling." We really do get a sense for how Joan feels about the treatment she is receiving, and it seems like the theologians respond differently when they are together than when separate. Screens rarely show Joan with other people in the scene, while the theologians and judges can be seen either alone or grouped. This might suggest that Joan's emotions were going to be drowned out by the shear magnitude of theologian consensus, despite the occasional, sympathetic deviant.

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