Movies

The art of film making is guided by theoretical frameworks which underscore the approaches for cinematic techniques. Many theorists have asserted their positions as regards the angle upon which these cinematic techniques portend. The psychoanalytic school of thought, whose proponents include Munsterberg, has maintained that the film making process should border the precincts of the affective effects that the film has on the emotions and minds of viewers at large. On the other hand, the montage school of thought emphasizes on the editing aspect of the film. With regard to this, it is evident that film making thus makes cinema to be different from other forms of art such as theater. This paper seeks to evaluate the film Passion De Jeanne DArch using the montage theory and focusing on reality and effects of sound film all concisely constructed through film editing aspects of this film

The fundamental question that is intriguing in the whole concept of film making is what constitutes cinema. As there exists various theoretical dimensions onto what is cinema, the understanding built in this discussion forms the basis upon which Passion De Jeanne DArch will be evaluated. Accordingly, cinema is a theoretical conceptualization whose product is art. As a result, cinema takes many forms ranging from the industrially produced blockbuster to the handcrafted experimental work. Cinema gives us a psychoanalytic, humanist and formalist outlook because it continues to fascinate, inspire provoke, evolve and turn on. In light of this, cinema presents newer possibilities for experiencing, exploring as well as imagining the world we live in (Schrader, 1972 52-58).

The empirical filmic representation of the film Passion De Jeanne DArch, as argued by montage theory, explores the concept of intuitionist cinematic realism. According to Gottlieb (199478-82), Passion De Jeanne DArch would not have achieved its riveting and haunting portrait of the historical martyr without coherent editing techniques. Essentially, the film is edited to resemble some sort of a documentary with emphasis primarily laid on the series of courtroom examination that doomed the young warrior. Evidently, the film gloriously employs clear close-ups, to draw attention to the ordinariness while at the same time embellishing the ugliest qualities. For example, Maria Falconet is unforgettable as Joan. Perfectly editing the terror, pain and saint less required by what is arguably the most demanding role an actor can play (Gottlieb, 1994 84-89).It is plausible to reiterate that the editing of this film in respect to montage theory has brought about the wonderful visual motif that is able to balance between sensual reality with inspirational spirituality.
Passion De Jeanne DArch is regarded as a landmark of cinema especially because of its production and direction which borrowed widely from the principle of editing as guided by montage. In a more passionate and exciting way, the film is produced in such way that it manages to depict the trials, torture, imprisonment and executions of Joan of Arc. The camera work also stands out quite clearly in the film laying emphasis on the actors facial feature. With regard to this, the director shot a great deal of the film, producing a piece in a close up by making his actors to wear makeup. Evidently the effects of all this is to better the way of telling the story through expressions. Schrader (1972 65-69) argues that this is a choice which was made possible through the use of the recently developed panchromatic film, which facilitates effects of sound film in the overall editing thus recording skin tones in a naturalistic manner.

The vivid editing elements Passion De Jeanne DArch has been welcomed and praised for a true classical work of art. Accordingly, it uses both theory and aesthetics to appeal to and moves the audience with its beautiful simplicity. The style of this film which is called close ups, is gotten from the sources of the director and evokes the protocol of the trial. This close up technique of editing, gives the shattering impression on the ways in which the trial seemed as the conspiracy of the judges against lone Jeanne. According to Gottlieb (199479-85), this conspiracy could only be conveyed on the screen through a manifolds of close-ups that intermingle with merciless realism to depict the hypocritical compassions of the judges.

Significantly, the editing technique of Passion De Jeanne DArch lifts the drama in the film above a given place as well as a given time. The director and other literary critics find this technique of close up, a more satisfactory way of abstracting from a historically defined reality without necessarily abandoning respect fro realism and authenticity (Gottlieb, 1994 93-99). However, strives for timelessness is reflected in the entire film. It also paves way for Dreyer to use pans, tilts, travelling shots and intricate editing. There is also the use of cross cutting techniques to better the effects especially in the last part of film. For instance, the hectic rhythm and the swiftly changing shots towards the end of the film are evidences of a masterfully close up techniques of editing.

In addition, the visual language is deliberately complex and not in the least monotonous. In regard to this, the costumes and sets for Passion De Jeanne DArch were intentionally created and built in the film to purposely further the balance between historical and modern cinema. Furthermore the lighting as exemplified by the overall whiteness of the image is a great contribution to the emphasis o the film on the logical and simple.
Dramatically, the film Passion De Jeanne DArch is composed is a one long scene. It intensifies in two scenes which focus on the Jeannes struggle as well as battle for her life and soul. This dramatic demarcation is characterized to this film thus the first scene is when Jeanne mentally breaks down and signs a confession. On the other hand, the second scene captures the regrets of Jeanne over what she has done and hastily withdraws the confession. In light of this, this editing style makes the film to capture the intense descriptions of the suffering of the individual as well as the drama of the soul transformed into images. Edited in what is called realized mysticism, the film breaks the tradition of eliciting negative reactions from viewers because of its classification as a silent film. Ordinarily, such films are physically crumbling decomposing and vanishing.
In conclusion, the achievement of Passion De Jeanne DArch is realized in a pre-dialogue of the immense archive of not only cinematic and cultural history but also the irreplaceable precious pleasure. From the forgoing discussion, it is evident that the creative, innovative and startling camera works in the Passion De Jeanne DArch creates visual imbalance with the odd angle shots of the street performers and other actors exaggerate their physical features thus creating a strong sense of grotesque which in essence is an external manifestation of their innate inhumanity. This film is indeed a profound indelible cinema of perseverance and courage, conscience and spirituality and thereby relying heavily upon editing to achieve the nerve of cinema as well as its sociological significance.