Abstract
The paper addresses the film The Passion of Joana D’Arc (1927), by Carl-Theodor Dreyer, which sought to represent the state of grace of the iconic character, resorting to the exhaustive use of the foreground (as evidenced by his vast critical fortune), but also choosing a completely silent ambience, which makes the film both a reliable document to the historical fact and an artistic work with dense organicity. The description of significant moments of the work is supported by historiographic references (Johan Huizinga and Alain Corbin) and theoretical references (José Moure and John Cage).
Keywords
silent film; silence; Carl-Theodor Dreyer; cinema’s history;
The Passion of Joana D’Arc