La imagen en primer plano: La pasión de Juana de Arco y el poder del rostro
Two peculiarities of the film The Passion of Joan of Arc (Carl Theodor Dreyer,1928) are explored in this essay: its unusual close-ups and its strongly expressivecharacter. We start from the idea that both characteristics are closely related andwe seek to clarify this relationship making use of Gille...
| Autor Principal: | Alayza Prager, Cristina |
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| Formato: | |
| Idioma: | spa |
| Publicado: |
Pontificia Universidad Católica del Perú. Instituto Riva-Agüero
2016
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| Materias: | |
| Acceso en línea: |
http://revistas.pucp.edu.pe/index.php/estudiosdefilosofia/article/view/15893 |
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| Sumario: |
Two peculiarities of the film The Passion of Joan of Arc (Carl Theodor Dreyer,1928) are explored in this essay: its unusual close-ups and its strongly expressivecharacter. We start from the idea that both characteristics are closely related andwe seek to clarify this relationship making use of Gilles Deleuze’s affection-image and Georges Didi-Huberman’s dialectical image. |
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