| Resumo: | La Passion de Jeanne d'Arc (1928), directed by C. T. Dreyer, marks a breakthrough with cinema depictions of religious subjects. Setting aside conventional narratives, closed and declamatory, and concentrating on the interaction between semi-isolated images, appealing to multiples senses, the film transfers to the observer the task of animating and conferring global meaning to them. Though, in the twilight of silent cinema, Dreyer's film is celebrated by its formal characteristics. Through this article, we propose to explore the representation of devotional practices on cinema through an analysis of Dreyer's film, combining visual and fil studies approaches and establishing connections between its images and other media.
|
|---|