《国际电影影片词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume 1 FILMS（Q、R、S、T）.pdf_P6-P10

UNE PARTIE DE CAMPAGNE FILMS, 4th EDITION 920 Une partie de campagne Faulkner, Christopher, The Social Cinema of Jean Renoir, Princeton, 1986. Vincendeau, Ginette, and Keith Reader, La Vie est à nous: French Cinema of the Popular Front 1935–1938, London, 1986. Viry-Babel, Roger, Jean Renoir: Le Jeu et la règle, Paris, 1986. Articles: Crowther, Bosley, in New York Times, 13 December 1950. Variety (New York), 20 December 1950. Cahiers du Cinéma (Paris), January 1952. Bérangert, Jean, ‘‘The Illustrious Career of Jean Renoir,’’ in Yale French Studies, (New Haven), Summer 1956. Cahiers du Cinéma (Paris), Christmas 1957. Sadoul, Georges, ‘‘The Renaissance of the French Cinema—Feyder, Renoir, Duvivier, Carné,’’ in Film: An Anthology, edited by Daniel Talbot, New York, 1959. Dyer, Peter John, ‘‘Renoir and Realism,’’ in Sight and Sound (London), Summer 1960. Whitehall, Richard, in Films and Filming (London), June and July 1960. Durgnat, Raymond, ‘‘Eroticism in Cinema—Part 7: Symbolism— Another Word for it,’’ in Films and Filming (London), April 1962. Beylie, Claude, ‘‘Cette mâle gaité,’’ in Avant-Scène du Cinéma (Paris), 15 December 1962. Howard R. G., in Film Journal (New York), July 1964. Kael, Pauline, in Kiss Kiss Bang Bang, Boston, 1968. Nogueira, Rui, and François Truchaud, ‘‘Interview with Jean Renoir,’’ in Sight and Sound (London), Spring 1968. Bodelsen, A., in Kosmorama (Copenhagen), October 1972. Wiese, Epi, ‘‘Visconti and Renoir: Shadowplay,’’ in Yale Review (New Haven), December 1974. Bagh, P. von, ‘‘Kaski kertaa Une Partie de campagne,’’ in Filmihullu (Helsinki), no. 7, 1976. Magny, Joel, ‘‘Partie de campagne: Les Bas-fonds,’’ in Téléciné (Paris), April 1977. Comolli, J. L., ‘‘Jean Renoir: En revoyant Une Partie de campagne. . . ,’’ in Cahiers du Cinéma (Paris), April 1979. Strebel, Elizabeth Grottle, ‘‘Jean Renoir and the Popular Front,’’ in Feature Films as History, edited by K. R. M. Short, London, 1981. Odin, R., ‘‘Strategia del desiderio in un’ ‘inquadratura di’ Une Partie de campagne,’’ in Filmcritica (Florence), June 1982

FILMS. 4th EDItION LA PASSION DE JEANNE D'ARO Baron, R. F,""Renoirs Neglected Masterpiece: Une Partie de Maupassant's tale, it is an understandable, if mistaken, conclusion. campagne, in Post Script (Jacksonville, Florida), Fall 1983 Published versions of the Pescatore. G, " La grana del cinema, in Cinema Cinema (bolo- further confused the issue. However, closer examination of the gna), January-August 1989 relationship between the story and the film will dispel such miscon- Webster, R M, ""Renoirs Une partie de campagne: Film as the Art of ceptions. Renoir wrote in his autobiography, My Life and My Films, Fishing in French Review, vol 64. no. 3, 1991 that when he was asked to increase the original footage to feature Tesson, Charles, "La robe sans couture, la danse, le patron, in length. he refused because he felt that it would have been Cinematheque(Paris), no 5, Spring 1994. the intent of Maupassant's story and to his screenplay to lengthen it. Magny, J, ""Partie de campagne deuxiem! " in Cahiers du Cinema Moreover, what many critics have failed to notice is that Renoir, ( Paris),no.479-80,May1994. although he adapted the events of the fiction faithfully, greatly altered Benoliel, Bernard, " Autour d Une partie de campagne, in Mensuel the story s tone, which allowed him to drop the final scenes from the du Cinema(Paris), no. 18, project incomplete Curchod, Oliver, and others, Partie de campagne de Jean Renoir, Maupassant's tantalizingly brief tale is largely satiric in tone. He in Positif( Paris), no. 408, February 1995 makes fun of the pretensions and foibles of his bourgeoisie often rather harshly: the natural setting is kept in the background; and the atmosphere of the country is diminished. Renoir not only places greater emphasis in the rural atmosphere and setting but also makes Andre Bazin, in his unfinished study of Jean Renoir, described a film that by bringing such natural elements into the foreground turns Une partie de campagne as a"perfectly finished work, one that is Maupassant's rather strident attack on the Dufort family into a com- not only faithful in letter and spirit to the Maupassant story from passionate and understanding film about unrecoverable moments and which it was adapted but also actually improved by Renoirs additions he inevitable sadness of the loss of innocence and love. As andre and refinements to the original tale. This is high praise, indeed, when Bazin has noted, such changes do improve the original. The story is one realizes that the films completion was highly problematic. Many given a resonance, the characters motivation, and the ending a poignance of Renoir's films have had checkered careers, but none was quite so lacking in the fictional source. As Pierre Leprohon has described it fusing as Une partie de campagne. Renoir originally intended to there is an overflowing tenderness, and extraordinary responsive- just as if it were a full-length film. Renoir chose a gentle, 19th-century e ss to the existence of things, and a transformation of the common- shoot a 35-or 40-minute story which he would make, he wrote later, e into the sublime. In Une partie de campagne, Renoir has tale and planned to spend a relaxed summer filming along the banks of created a poetic compression of those things that he holds dear,which the Loin near Marlotte, an area he knew extremely well. The entire is one of the reasons the film evokes such fond memories and experience should have provided him, as Alexander Sesonske has responses from its viewers. Although unhappy and somewhat ironic described it, with a""brief and pleasant respite in mid-career he ending is nevertheless not unhopeful. Life and the river will both Despite the rainiest summer in memory an extremely volatile politi- flow on and be renewed cal climate, tensions on the set and the fact that the film sat for nearly 10 years waiting for its final editing, Une partie de campagne is harles l. p. silet a remarkably fine film, some say a masterpiece: Sesonske thinks that no Renoir film seems"more unstudied, more a pure flow of life aught unaware There are sound reasons for the films critical success: it is a film THE PASSENGER of uncommon gentleness and beauty, and it forms less of a"respite See PRoFESSIONe: REPORTER in Renoirs career than a concentration of his most important themes and images: the river, the countryside, the loving scrutiny of bour- geois life. Une partie de campagne forms a poetic centre for renoir French films. Rather than a sense of diversion. the film reflects LA PASSION DE JEANNE D'ARC a completeness. Renoirs rendering of his subject matter is incisive, his style mature, his vision complete: it is a seamless work of art. CThe Passion of Joan of Arc) Many critics have called attention to the films impressionistic quality, suggesting that it is a homage to the director's father, the Fra painter Pierre Auguste Renoir. Indeed, impressionistic moments do grace the film--but for one to try to understand it as an attempt by the Director: Carl Theodor Dreyer dly underestimate the qualities of the movie. The""look Production: Societe generale des Films(Paris); black and white, of the films of Renoir fils have done much to strengthen his popular 35mm, silent; running time: originally 110 minutes, later 86-88 director of surfaces. much to the detriment of his standin as a filmmaker of depth and perception. Copenhagen. Re-released 1952 in sound version produced by Gaumont The shortness of the film also has strengthened the perception of Actualite and supervised by Lo Duca, musical accompaniment from Renoir as an impressionistic filmmaker, and many critics today still works by Scarlatti, Albinoni, Gemianani, Vivaldi, and Bach. Filmed respond to the film as incomplete, an interesting but unfinished May-October 1927 in Paris experiment. The fact that Renoir left two scenes from the Maupassant tory unshot has been used as evidence for regarding the film as Screenplay: Carl Theodor Dreyer and Joseph Delteil, from a book by a fragment, and considering Renoirs relative fidelity to the events of Joseph Delteil; titles: Carl Theodor Dreyer; photography: Rudolph

FILMS, 4 LA PASSION DE JEANNE D’ARC th EDITION 921 Baron, R. F., ‘‘Renoir’s Neglected Masterpiece: Une Partie de campagne,’’ in Post Script (Jacksonville, Florida), Fall 1983. Pescatore, G., ‘‘La grana del cinema,’’ in Cinema & Cinema (Bologna), January-August 1989. Webster, R.M., ‘‘Renoir’s Une partie de campagne: Film as the Art of Fishing,’’ in French Review, vol. 64, no. 3, 1991. Tesson, Charles, ‘‘La robe sans couture, la danse, le patron,’’ in Cinémathèque (Paris), no. 5, Spring 1994. Magny, J., ‘‘Partie de campagne deuxiem!’’ in Cahiers du Cinéma (Paris), no. 479–80, May 1994. Bénoliel, Bernard, ‘‘Autour d’Une partie de campagne,’’ in Mensuel du Cinéma (Paris), no. 18, June 1994. Curchod, Oliver, and others, ‘‘Partie de campagne de Jean Renoir,’’ in Positif (Paris), no. 408, February 1995. *** André Bazin, in his unfinished study of Jean Renoir, described Une partie de campagne as a ‘‘perfectly finished work,’’ one that is not only faithful in letter and spirit to the Maupassant story from which it was adapted but also actually improved by Renoir’s additions and refinements to the original tale. This is high praise, indeed, when one realizes that the film’s completion was highly problematic. Many of Renoir’s films have had checkered careers, but none was quite so confusing as Une partie de campagne. Renoir originally intended to shoot a 35- or 40-minute story which he would make, he wrote later, just as if it were a full-length film. Renoir chose a gentle, 19th-century tale and planned to spend a relaxed summer filming along the banks of the Loin near Marlotte, an area he knew extremely well. The entire experience should have provided him, as Alexander Sesonske has described it, with a ‘‘brief and pleasant respite in mid-career.’’ Despite the rainiest summer in memory, an extremely volatile political climate, tensions on the set and the fact that the film sat for nearly 10 years waiting for its final editing, Une partie de campagne is a remarkably fine film, some say a masterpiece; Sesonske thinks that no Renoir film seems ‘‘more unstudied, more a pure flow of life caught unaware.’’ There are sound reasons for the film’s critical success: it is a film of uncommon gentleness and beauty, and it forms less of a ‘‘respite’’ in Renoir’s career than a concentration of his most important themes and images: the river, the countryside, the loving scrutiny of bourgeois life. Une partie de campagne forms a poetic centre for Renoir’s French films. Rather than a sense of diversion, the film reflects a completeness. Renoir’s rendering of his subject matter is incisive, his style mature, his vision complete; it is a seamless work of art. Many critics have called attention to the film’s impressionistic quality, suggesting that it is a homage to the director’s father, the painter Pierre Auguste Renoir. Indeed, impressionistic moments do grace the film—but for one to try to understand it as an attempt by the son to do what the father had already done with paint and canvas is to sadly underestimate the qualities of the movie. The ‘‘painterly’’ look of the films of Renoir fils have done much to strengthen his popular image as a director of surfaces, much to the detriment of his standing as a filmmaker of depth and perception. The shortness of the film also has strengthened the perception of Renoir as an impressionistic filmmaker, and many critics today still respond to the film as incomplete, an interesting but unfinished experiment. The fact that Renoir left two scenes from the Maupassant story unshot has been used as evidence for regarding the film as a fragment, and considering Renoir’s relative fidelity to the events of Maupassant’s tale, it is an understandable, if mistaken, conclusion. Published versions of the screenplay for those ‘‘missing’’ scenes have further confused the issue. However, closer examination of the relationship between the story and the film will dispel such misconceptions. Renoir wrote in his autobiography, My Life and My Films, that when he was asked to increase the original footage to feature length, he refused because he felt that it would have been contrary to the intent of Maupassant’s story and to his screenplay to lengthen it. Moreover, what many critics have failed to notice is that Renoir, although he adapted the events of the fiction faithfully, greatly altered the story’s tone, which allowed him to drop the final scenes from the completed film without leaving the project incomplete. Maupassant’s tantalizingly brief tale is largely satiric in tone. He makes fun of the pretensions and foibles of his bourgeoisie often rather harshly; the natural setting is kept in the background; and the atmosphere of the country is diminished. Renoir not only places greater emphasis in the rural atmosphere and setting but also makes a film that by bringing such natural elements into the foreground turns Maupassant’s rather strident attack on the Dufort family into a compassionate and understanding film about unrecoverable moments and the inevitable sadness of the loss of innocence and love. As André Bazin has noted, such changes do improve the original. The story is given a resonance, the characters motivation, and the ending a poignance lacking in the fictional source. As Pierre Leprohon has described it: ‘‘there is an overflowing tenderness, and extraordinary responsiveness to the existence of things, and a transformation of the commonplace into the sublime.’’ In Une partie de campagne, Renoir has created a poetic compression of those things that he holds dear, which is one of the reasons the film evokes such fond memories and responses from its viewers. Although unhappy and somewhat ironic, the ending is nevertheless not unhopeful. Life and the river will both flow on and be renewed. —Charles L. P. Silet THE PASSENGER See PROFESSIONE: REPORTER LA PASSION DE JEANNE D’ARC (The Passion of Joan of Arc) France, 1928 Director: Carl Theodor Dreyer Production: Société Générale des Films (Paris); black and white, 35mm, silent; running time: originally 110 minutes, later 86–88 minutes; length: 2400 meters. Released 21 April 1928, Paladsteatret, Copenhagen. Re-released 1952 in sound version produced by Gaumont Actualité and supervised by Lo Duca, musical accompaniment from works by Scarlatti, Albinoni, Gemianani, Vivaldi, and Bach. Filmed May-October 1927 in Paris. Screenplay: Carl Theodor Dreyer and Joseph Delteil, from a book by Joseph Delteil; titles: Carl Theodor Dreyer; photography: Rudolph

FILMS. 4 EDITIoN LA PASSION DE JEANNE D'ARC Nash, Mark, Dreyer, London, 1977 Kosmorama( Copenhagen), June 1968. Tone, Pier Giorgio, Carl Theodor Dreyer, Florence, 1978 Cahiers du Cinema (Paris), December 1968 Bordwell, David, The Films of Carl Theodor Dreyer, Berkeley, 1981 Delahaye, Michael, in Interviews with Film Directors, edited by Pipolo, Anthony P, Carl Dreyer's La Passion de Jeanne d'Arc Andrew Sarris. New York. 1969. A Comparison of Prints and Formal Analysis, Ann Arbor, Michi- Potamkin, Harry Alan, in The Emergence of Film Art, by Lewis gan,1981 Jacobs. New York. 1969 Bazin, Andre, The Cinema of Cruelty: From Buriuel to Hitchcock, Avant-Scene du Cinema(Paris ), February 1970 Bunuel, Luis, in Positif(Paris), February 1973 Carney, Raymond, Speaking the Language of Desire: The Films of Vaughan, Dai, ""Carl Dreyer and The Theme of Choice, "in Sight and Carl Dreyer, New York, 1989 Sound (London), Summer 1974. Jensen, Jytte, editor, The Films of Carl Theodor Dreyer, New Wood, Robin, Carl Dreyer, "in Film Comment(New York), March- York. 1989 Dreyer, Carl Theodor, Dreyer in Double Reflection: Carl Dreyer's Van Ness, Wilhelmina, "Joseph Delteil: The Passion of Joan of Writings on Film, Cambridge, 1991 Drum, Jean, and Dale D Drum, My Only Great Passion: The Life and Arc, in Literature/Film Quarterly (Salisbury, Maryland Films of Carl Theodor Dreyer, Lanham, 2000 no.4,1975 Petric, Vlada, ""Dreyers Concept of Abstraction, in Sight an Sound London), Spring 1975 Articles. Bordwell, David, ""Dreyers Joan, in Sight and Sound(London), Autumn 1975 Close Up (London), July 1928 Hugo, V.,J. de lacretelle, and P morand in Avant-Scene du cinema Variety(New York), 10 April 1929 ( Paris), I December 1977. Theatre Arts(New York), 13 May 1929 Oudart, Jean-Pierre, "Une Peur active. in Cahiers du cinema Ecran Francais(Paris), 11 November 1947. ( Paris),no.292,1978. Winge, John,""Interview with Dreyer, in Sight and Sound(Lon- Cros, J. L. in Image et Son(Paris), September 1978 don), January 1950 Linderman, Deborah, ""Uncoded Images in the Heterogeneous Text, in Manvell, Roger, in Sight and Sound (London), December 1950 Ayfre, Amedee, in Cahiers du Cinema(Paris), no 17, 1952 Wide Angle(Athens, Ohio), no 3, 1980 Tesson, Charles, Jeanne d'Arc sauve des flammes in Cahiers du Marker, Chris, in Regards neufs sur le cinema, edited by Jacques Chevallier. Paris. 1953 Cinema(Paris), December 1984 Enberg, M, in Kosmorama( Copenhagen), May 1985 Terzi, Corrado, in Cinema Nuovo (Turin), no 17, 1953 Everson, william K, ""Rudy Mate--His Work with Carl Dreyer, Drouzy, Maurice, " Jeanne d' Arc livre aux borreaux, in Films and Filming(London), no 2, 1955 Cinematographe(Paris), June 1985. Dreyer, Carl, " Thoughts on My Craft, "in Sight and Sound (London).""Special Issue"of Cahiers de la Cinematheque(Perpignan),Sum- Trolle, Borge, The World of Carl Dreyer, in Sight and Sound ash, M, Joan Complete, in Sight and Sound (London), Sum- (London Winter 1955-56 er1985 Luft, Herbert, " Dreyer, in Films and Filming(London), June 196 Neyt, G, in Film en Televisie(Brussels), October 1985 Stanbrook, Alan, in Films and Filming(London), June 1961 Jeanne d'Arc Section of Skrien(Amsterdam). November-Decem- Semolue, Jean, Douleur, Noblesse Unique, ou, La Passion chez ber 1985 Carl Dreyer, 'in Etudes Cinematographiques(Paris), Fall 1961 Meyer, M. P, "La Passion de Jeanne d'Arc: Muziek als hindernis, Semolue, Jean, ""Passion et proces(de Dreyer a Bresson), in Etudes in Skrien(Amsterdam), winter 1985-86. Cinematographiques(Paris), nos. 18-19, 1962. La passion de Jeanne d'Arc, " in a Special Issue of Avanl-Scene du Luft,Herbert,""Rudolph Mate: Photographed Dreyer's Passion of Joan of Arc and Became Director on His Own, in Films in A. Cinema(Paris), no 367-368, January-February 1988 Review(New York). no8, 1964 Theatre to Cinema, in Discourse(Bloomington, Indiana), Spring- Delmas, Jean, in Jeune Cinema(Paris), no 5, 1965 Zurbuch, Werner, ""Interview med Herman Warm. "in Kosmorama Martensen-Larsen, B,"Inspirationen fra middelalderens miniature Copenhagen), no. 71, 1965 in Kosmorama( Copenhagen), Summer 1993. Bond, Kirk, The World of Carl Dreyer, in Film Quarterly (Berke DeBartolo, J, " Video Tape Reviews, in Classic Images(Muscatine) ley), Fall 1965. 0.5,May199 Milne, Tom, "Darkness and Light: Carl Dreyer, in Sight and Sound Dupre la Tour, C,, " The Written Word and Memory in Griffith's (London), Autumn 196 Intolerance and Dreyers La passion de Jeanne d'Arc, in Iris Lerner, Carl, My Way of Working Is in Relation to the Future (lowa City), no 19, Autumn 1995 A Conversation with Ca Dreyer, in Film C ew Kauffman, S, ""French Saint: French Mortals, " in New Republic, vol York), Fall 1966 213. 20 November 1995 Amengual, Barthelemy, "Fonctions du gros plan et du cadrage dans Potter, Nicole, The Passion of Joan of Arc/oices of Light, in La passion de Jeanne d'Arc, in Etudes Cinematographiques Films in Review(New York), vol 47, no 3-4, March-April 1996 ( Paris),no.53-56,196 Brien, Charles, Rethinking National Cinema: Dreyer's La pas Duperly, Denis, Carl Dreyer: Utter Bore or Total Genius?, in nne d'Arc and the Academic Aesthetic, in Cinema Films and Filming (London), February 1968 Jounal(Austin), vol 35, no 4, Summer 1996

FILMS, 4 LA PASSION DE JEANNE D’ARC th EDITION 923 Nash, Mark, Dreyer, London, 1977. Tone, Pier Giorgio, Carl Theodor Dreyer, Florence, 1978. Bordwell, David, The Films of Carl Theodor Dreyer, Berkeley, 1981. Pipolo, Anthony P., Carl Dreyer’s La Passion de Jeanne d’Arc: A Comparison of Prints and Formal Analysis, Ann Arbor, Michigan, 1981. Bazin, André, The Cinema of Cruelty: From Buñuel to Hitchcock, New York, 1982. Carney, Raymond, Speaking the Language of Desire: The Films of Carl Dreyer, New York, 1989. Jensen, Jytte, editor, The Films of Carl Theodor Dreyer, New York, 1989. Dreyer, Carl Theodor, Dreyer in Double Reflection: Carl Dreyer’s Writings on Film, Cambridge, 1991. Drum, Jean, and Dale D. Drum, My Only Great Passion: The Life and Films of Carl Theodor Dreyer, Lanham, 2000. Articles: Close Up (London), July 1928. Variety (New York), 10 April 1929. Theatre Arts (New York), 13 May 1929. Ecran Français (Paris), 11 November 1947. Winge, John, ‘‘Interview with Dreyer,’’ in Sight and Sound (London), January 1950 Manvell, Roger, in Sight and Sound (London), December 1950. Ayfré, Amédée, in Cahiers du Cinéma (Paris), no. 17, 1952. Marker, Chris, in Regards neufs sur le cinéma, edited by Jacques Chevallier, Paris, 1953. Terzi, Corrado, in Cinema Nuovo (Turin), no. 17, 1953. Everson, William K., ‘‘Rudy Maté—His Work with Carl Dreyer,’’ in Films and Filming (London), no. 2, 1955. Dreyer, Carl, ‘‘Thoughts on My Craft,’’ in Sight and Sound (London), Winter 1955–56. Trolle, Børge, ‘‘The World of Carl Dreyer,’’ in Sight and Sound (London), Winter 1955–56. Luft, Herbert, ‘‘Dreyer,’’ in Films and Filming (London), June 1961. Stanbrook, Alan, in Films and Filming (London), June 1961. Sémolué, Jean, ‘‘‘Douleur, Noblesse Unique’, ou, La Passion chez Carl Dreyer,’’ in Etudes Cinématographiques (Paris), Fall 1961. Sémolué, Jean, ‘‘Passion et procès (de Dreyer à Bresson),’’ in Etudes Cinématographiques (Paris), nos. 18–19, 1962. Luft, Herbert, ‘‘Rudolph Maté: Photographed Dreyer’s Passion of Joan of Arc and Became Director on His Own,’’ in Films in Review (New York), no. 8, 1964. Delmas, Jean, in Jeune Cinéma (Paris), no. 5, 1965. Zurbuch, Werner, ‘‘Interview med Herman Warm,’’ in Kosmorama (Copenhagen), no. 71, 1965. Bond, Kirk, ‘‘The World of Carl Dreyer,’’ in Film Quarterly (Berkeley), Fall 1965. Milne, Tom, ‘‘Darkness and Light: Carl Dreyer,’’ in Sight and Sound (London), Autumn 1965. Lerner, Carl, ‘‘My Way of Working Is in Relation to the Future: A Conversation with Carl Dreyer,’’ in Film Comment (New York), Fall 1966. Amengual, Barthélemy, ‘‘Fonctions du gros plan et du cadrage dans La passion de Jeanne d’Arc,’’ in Etudes Cinématographiques (Paris), no. 53–56, 1967. Duperly, Denis, ‘‘Carl Dreyer: Utter Bore or Total Genius?,’’ in Films and Filming (London), February 1968. Kosmorama (Copenhagen), June 1968. Cahiers du Cinéma (Paris), December 1968. Delahaye, Michael, in Interviews with Film Directors, edited by Andrew Sarris, New York, 1969. Potamkin, Harry Alan, in The Emergence of Film Art, by Lewis Jacobs, New York, 1969. Avant-Scène du Cinéma (Paris), February 1970. Buñuel, Luis, in Positif (Paris), February 1973. Vaughan, Dai, ‘‘Carl Dreyer and The Theme of Choice,’’ in Sight and Sound (London), Summer 1974. Wood, Robin, ‘‘Carl Dreyer,’’ in Film Comment (New York), MarchApril 1974. Van Ness, Wilhelmina, ‘‘Joseph Delteil: The Passion of Joan of Arc,’’ in Literature/Film Quarterly (Salisbury, Maryland), no.4, 1975. Petric, Vlada, ‘‘Dreyer’s Concept of Abstraction,’’ in Sight and Sound (London), Spring 1975. Bordwell, David, ‘‘Dreyer’s Joan,’’ in Sight and Sound (London), Autumn 1975. Hugo, V., J. de Lacretelle, and P. Morand, in Avant-Scéne du Cinéma (Paris), 1 December 1977. Oudart, Jean-Pierre, ‘‘Une Peur active,’’ in Cahiers du Cinéma (Paris), no. 292, 1978. Cros, J. L., in Image et Son (Paris), September 1978. Linderman, Deborah, ‘‘Uncoded Images in the Heterogeneous Text,’’ in Wide Angle (Athens, Ohio), no. 3, 1980. Tesson, Charles, ‘‘Jeanne d’Arc sauvé des flammes,’’ in Cahiers du Cinéma (Paris), December 1984. Enberg, M., in Kosmorama (Copenhagen), May 1985. Drouzy, Maurice, ‘‘Jeanne d’Arc livrée aux borreaux,’’ in Cinématographe (Paris), June 1985. ‘‘Special Issue’’ of Cahiers de la Cinémathèque (Perpignan), Summer 1985. Nash, M., ‘‘Joan Complete,’’ in Sight and Sound (London), Summer 1985. Neyt, G., in Film en Televisie (Brussels), October 1985. ‘‘Jeanne d’Arc Section’’ of Skrien (Amsterdam), November-December 1985. Meyer, M.P., ‘‘La Passion de Jeanne d’Arc: Muziek als hindernis,’’ in Skrien (Amsterdam), Winter 1985–86. ‘‘La passion de Jeanne d’Arc,’’ in a Special Issue of Avant-Scène du Cinéma (Paris), no. 367–368, January-February 1988. Willmott, G., ‘‘Implications for a Sartrean Radical Medium: From Theatre to Cinema,’’ in Discourse (Bloomington, Indiana), SpringSummer 1990. Martensen-Larsen, B., ‘‘Inspirationen fra middelalderens miniaturer,’’ in Kosmorama (Copenhagen), Summer 1993. DeBartolo, J., ‘‘Video Tape Reviews,’’ in Classic Images (Muscatine), no. 5, May 1995. Dupre la Tour, C., ‘‘The Written Word and Memory in Griffith’s Intolerance and Dreyer’s La passion de Jeanne d’Arc,’’ in Iris (Iowa City), no. 19, Autumn 1995. Kauffman, S., ‘‘French Saint: French Mortals,’’ in New Republic, vol. 213, 20 November 1995. Potter, Nicole, ‘‘The Passion of Joan of Arc/Voices of Light,’’ in Films in Review (New York), vol. 47, no. 3–4, March-April 1996. O’Brien, Charles, ‘‘Rethinking National Cinema: Dreyer’s La passion de Jeanne d’Arc and the Academic Aesthetic,’’ in Cinema Journal (Austin), vol. 35, no. 4, Summer 1996

PASSPORT TO PIMLICO FILMS. 4 EDITIoN Stackpole, J, "One Hardly Expects Language to Be a Contributing not in the least monotonous. The sets and the costumes were con- Factor, in Audience (Simi Valley), no. 192, December/Janu sciously created in a way that furthered the balance between the ary 1997. historical and the modern. The lighting the overall whiteness of the Nichols, Peter M,""In a Joan of Arc Season, One Telling is images, contributes to the films emphasis on the simple and the lucid Timeless in New York Times. 24 October 1999 Dramatically, La passion de Jeanne d'Arc is composed as one Smith, Gavin, "The Passion of Joan of Arc/Jeanne la Pucelle, in long scene. This is Jeanne's last struggle, and the battle is for her life Film Comment(New York), vol 35, no. 6, November/Decem- and her soul. The film is dramatically and psychologically intensified ber1999. in two scenes. The first when Jeanne breaks down mentally and, to save her life, signs a confession as a heretic. The second is the scene in which she regrets what she has done and withdraws the confession She knows then that her death is certain but she saves her soul. and Carl Dreyers last silent film is one of the most famous films in the she triumphs in her faith history of cinema. It is seldom missing on"World's Ten Best Films La passion de Jeanne d'Arc is an intense description of the lists. Few films have been studied and analyzed as thoroughly in suffering of an individual, the drama of a soul transformed into articles and books, and one sometimes feels that the real film is buried images. It is a"cool""look, and Dreyer called his method""realized in the theory and aesthetics. But, a true classical work of art, La mysticism.With his sober objectivity Dreyer succeeded in making passion de Jeanne d'Arc appeals to and moves the spectator with its the difficult understandable and the irrational clear The film is about beautiful simplicity. It is a pure tragedy of a young suffering woman the necessity of suffering for the liberation of the individual human fighting in a hostile world. The finest homage to the film is perhaps being. As do all of Dreyer's heroines, Jeanne suffers defeat, but for that of Jean-Luc Godard: in his film Vivre sa vie the prostitute (played Dreyer defeat or victory in this world is of no importance. The by Anna Karina) is deeply moved by Dreyers portrait of the essential thing is the souls victory over life. Dreyer's view of the legendary heroine when she sees the film in a Paris cinema in the historical facts is of course. not a balanced one jeanne is the heroine 960s. She can identify with the tormented young woman in this and Dreyer is on her side in a struggle against a cruel, official world timeless film From the time he started his script in October 1926 until the film In Dreyers oeuvre La passion de Jeanne d'Arc brings together all the resources of the cinema at that time, and is the most pure and was finished, Dreyer worked on it for a year and a half. The historical perfect expression of his art Of none of his films is his own statement trial of Jeanne lasted for more than a year. Dreyer concentrated the more fitting: " The soul is revealed in the style, which is the artists actual 29 interrogations into one long interrogation, and in the film it expression on the way he regards his material takes place on 30 May 1431, the last day of Jeanne's short life: Dreyer The film was well received when it was released. but it was not thus keeps to the unities of time, place and story The style of the film, which has been called a film in close-ups, a commercial success. Since then the films reputation has grown, and for many years it has been continuously shown in film archives and derived directly from his sources and evokes the protocol of the trial. film clubs all over the world. The original negative of La passion de When the film was released, the close-up technique was regarded as Jeanne d Arc was destroyed in a fire in 1928 at UFA in Berlin Film a shattering impression on the ways in which the trial was a conspir archeologists are still working on a restoration of the film, which has acy of the judges against the solitary Jeanne, bravely defending version should not drastically change our impression of this masterpiece their net. This conspiracy could be conveyed on the screen only nrough the huge close-ups, that exposed, with merciless realism, the -Ib Monty callous cynicism of the judges hidden behind hypocritical compassio and on the other hand there had to be equally huge close-ups of Jeanne, whose pure features would reveal that she alone found strength in her faith in God. As in all of Dreyers major films the PASSPORT TO PIMLICO style grew out of the theme of the film. In La passion de jeanne d'Arc Dreyer wanted"to move the audience so that they would themselves UK, 1949 feel the suffering that Jeanne endured. "It was by using close-up that Dreyer could"lead the audience all the way into the hearts and guts Director: Henry Cornelius Jeanne and the judges. he close-up technique is the core of the film, because it lifts the drama above a given place and a given time. It is a satisfactory way of Production: Ealing Studios: black and white, 35mm; running time abstracting from an historically defined reality without abandoning a respect for authenticity and realism. But this striving for timelessness is reflected in all the components of the film. And there is more to the Producer: Michael Balcon; associate producer: E.V.H.Emm film than close-ups. Dreyer uses medium close-ups, tilts, pans, screenplay: T. E. B. Clarke: photographer: Lionel Banes; art travelling shots and intricate editing. Cross-cutting is used to great direction: Roy Oxley; music: Georges Auric: editor: Michael Tr effect, especially in the last part of the film, and the hectic rhythm and swiftly changing shots towards the end of the film are as masterfully Cast: Stanley Holloway(Arthur Pemberton): Betty Warren(Connie controlled as the close-ups. The visual language is very complex and Pemberton); Barbara Murray(Shirley Pemberton); Paul Dupui 924

PASSPORT TO PIMLICO FILMS, 4th EDITION 924 Stackpole, J., ‘‘One Hardly Expects Language to Be a Contributing Factor,’’ in Audience (Simi Valley), no. 192, December/January 1997. Nichols, Peter M., ‘‘In a Joan of Arc Season, One Telling is Timeless,’’ in New York Times, 24 October 1999. Smith, Gavin, ‘‘The Passion of Joan of Arc/Jeanne la Pucelle,’’ in Film Comment (New York), vol. 35, no. 6, November/December 1999. *** Carl Dreyer’s last silent film is one of the most famous films in the history of cinema. It is seldom missing on ‘‘World’s Ten Best Films’’ lists. Few films have been studied and analyzed as thoroughly in articles and books, and one sometimes feels that the real film is buried in the theory and aesthetics. But, a true classical work of art, La passion de Jeanne d’Arc appeals to and moves the spectator with its beautiful simplicity. It is a pure tragedy of a young suffering woman fighting in a hostile world. The finest homage to the film is perhaps that of Jean-Luc Godard: in his film Vivre sa vie the prostitute (played by Anna Karina) is deeply moved by Dreyer’s portrait of the legendary heroine when she sees the film in a Paris cinema in the 1960s. She can identify with the tormented young woman in this timeless film. From the time he started his script in October 1926 until the film was finished, Dreyer worked on it for a year and a half. The historical trial of Jeanne lasted for more than a year. Dreyer concentrated the actual 29 interrogations into one long interrogation, and in the film it takes place on 30 May 1431, the last day of Jeanne’s short life; Dreyer thus keeps to the unities of time, place and story. The style of the film, which has been called a film in close-ups, is derived directly from his sources and evokes the protocol of the trial. When the film was released, the close-up technique was regarded as shocking. Dreyer defended his method by stating: ‘‘The records give a shattering impression on the ways in which the trial was a conspiracy of the judges against the solitary Jeanne, bravely defending herself against men who displayed a devilish cunning to trap her in their net. This conspiracy could be conveyed on the screen only through the huge close-ups, that exposed, with merciless realism, the callous cynicism of the judges hidden behind hypocritical compassion— and on the other hand there had to be equally huge close-ups of Jeanne, whose pure features would reveal that she alone found strength in her faith in God.’’ As in all of Dreyer’s major films the style grew out of the theme of the film. In La passion de Jeanne d’Arc Dreyer wanted ‘‘to move the audience so that they would themselves feel the suffering that Jeanne endured.’’ It was by using close-up that Dreyer could ‘‘lead the audience all the way into the hearts and guts of Jeanne and the judges.’’ The close-up technique is the core of the film, because it lifts the drama above a given place and a given time. It is a satisfactory way of abstracting from an historically defined reality without abandoning a respect for authenticity and realism. But this striving for timelessness is reflected in all the components of the film. And there is more to the film than close-ups. Dreyer uses medium close-ups, tilts, pans, travelling shots and intricate editing. Cross-cutting is used to great effect, especially in the last part of the film, and the hectic rhythm and swiftly changing shots towards the end of the film are as masterfully controlled as the close-ups. The visual language is very complex and not in the least monotonous. The sets and the costumes were consciously created in a way that furthered the balance between the historical and the modern. The lighting, the overall whiteness of the images, contributes to the film’s emphasis on the simple and the lucid. Dramatically, La passion de Jeanne d’Arc is composed as one long scene. This is Jeanne’s last struggle, and the battle is for her life and her soul. The film is dramatically and psychologically intensified in two scenes. The first when Jeanne breaks down mentally and, to save her life, signs a confession as a heretic. The second is the scene in which she regrets what she has done and withdraws the confession. She knows then that her death is certain, but she saves her soul, and she triumphs in her faith. La passion de Jeanne d’Arc is an intense description of the suffering of an individual, the drama of a soul transformed into images. It is a ‘‘cool’’ look, and Dreyer called his method ‘‘realized mysticism.’’ With his sober objectivity Dreyer succeeded in making the difficult understandable and the irrational clear. The film is about the necessity of suffering for the liberation of the individual human being. As do all of Dreyer’s heroines, Jeanne suffers defeat, but for Dreyer defeat or victory in this world is of no importance. The essential thing is the soul’s victory over life. Dreyer’s view of the historical facts is, of course, not a balanced one. Jeanne is the heroine, and Dreyer is on her side in a struggle against a cruel, official world. In Dreyer’s oeuvre La passion de Jeanne d’Arc brings together all the resources of the cinema at that time, and is the most pure and perfect expression of his art. Of none of his films is his own statement more fitting: ‘‘The soul is revealed in the style, which is the artist’s expression on the way he regards his material.’’ The film was well received when it was released, but it was not a commercial success. Since then the film’s reputation has grown, and for many years it has been continuously shown in film archives and film clubs all over the world. The original negative of La passion de Jeanne d’Arc was destroyed in a fire in 1928 at UFA in Berlin. Film archeologists are still working on a restoration of the film, which has survived in many slightly differing versions—but even a definitive version should not drastically change our impression of this masterpiece. —Ib Monty PASSPORT TO PIMLICO UK, 1949 Director: Henry Cornelius Production: Ealing Studios; black and white, 35mm; running time: 84 minutes. Released April 1949. Producer: Michael Balcon; associate producer: E. V. H. Emmett; screenplay: T. E. B. Clarke; photographer: Lionel Banes; art direction: Roy Oxley; music: Georges Auric; editor: Michael Truman. Cast: Stanley Holloway (Arthur Pemberton); Betty Warren (Connie Pemberton); Barbara Murray (Shirley Pemberton); Paul Dupuis