Please use this identifier to cite or link to this item: https://hdl.handle.net/10593/3442
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dc.contributor.authorMrozewicz, Anna-
dc.date.accessioned2012-09-26T09:36:45Z-
dc.date.available2012-09-26T09:36:45Z-
dc.date.issued2010-
dc.identifier.citation"Images" 2009, nr 13-14 (vol. 7), pp. 181-190pl_PL
dc.identifier.issn1731-450X-
dc.identifier.urihttp://hdl.handle.net/10593/3442-
dc.description.abstractThe last mute film in Carl Th. Dreyer’s oeuvre, The Passion of Joan of Arc (1928), is often referred to as a film “made of close-ups” and purely cinematic. Dreyer used to stress himself that close-up was the specific cinematic device that asserted film’s position as autonomous art. He especially insisted on film’s independence from theatre. Thus, it might sound quite surprising that in an interview from 1965, Dreyer draws attention to the underestimated, according to him, role of theatre in Joan of Arc. In my essay I focus on the theatricality in Dreyer’s film, arguing that “the theatrical” and “the cinematic” are two strategies used to present two different worlds of ideas and beliefs: that of the judges, clergymen and inquisitors, which at the same time is the world of males, and that of Joan, an illiterate woman who strives alone for her idea against a group of powerful men. What we observe in the film is a growing presence of ‘the cinematic’, the strategy allied with Joan, who in the final scene triumphs over the judges, just like cinema triumphs over theatricality.pl_PL
dc.language.isoplpl_PL
dc.publisherWydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzipl_PL
dc.subjectParagonepl_PL
dc.subjectWord and imagepl_PL
dc.subjectClose-uppl_PL
dc.subjectGenderpl_PL
dc.subjectDreyer Carl Th.,pl_PL
dc.subjectd'Arc Joannapl_PL
dc.titleGłos Joanny. O paragone sztuk w "Męczeństwie Joanny d'Arc" Carla Th. Dreyerapl_PL
dc.typeArtykułpl_PL
Appears in Collections:Images, nr 13-14, 2009-2010

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