Carl Dreyer's World

R. Rowland
{"title":"Carl Dreyer's World","authors":"R. Rowland","doi":"10.2307/1209486","DOIUrl":null,"url":null,"abstract":"To VISIT Carl Dreyer's Passion of Joan of Arc, filmed in France in 1928, after seeing his more recent Danish production, Day of Wrath, is an extraordinarily exciting experience. These two films, produced at an interval of nearly twenty years, scarcely reveal the difference in their ages. The motion picture is always more likely to date itself than any other art, partly because it relies as no other art ever has upon technology. But these two films, remembered together, seem to be of the same moment; their passionate directness is of no specific day. Such agelessness in any art is usually the result of a highly personalized style. The artist who is branded as of his age dates within his lifetime; the individualist who goes his own way-Blake, El Greco, Berlioz, at their most original-is as fresh today as ever. A style that represents a coherent and considered judgment of life, even in the flickering light of the cinema, transcends fashion or technical development. Dreyer's style is wholly pictorial. One of these films is a sound film, the other silent, but in both it is visual images that we remember. There are some striking effects on the sound track of Day of Wrath, but we remember the faces, lights, and shadows more vividly than the sounds. Even the use of the hymn from which Day of Wrath draws its title is impressed upon us pictorially; we cut from the agonized face of the ancient witch as she falls forward upon the bonfire to the witnessing choirboys as they sing the austere hymn whose song is so discordant with its angry words. But it is the blank innocence of their angelic faces that jars our hearts more than the sound of the high, unrepentant voices. Carl Dreyer's style seems an extraordinarily simple one, and at","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Hollywood Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/1209486","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1

Abstract

To VISIT Carl Dreyer's Passion of Joan of Arc, filmed in France in 1928, after seeing his more recent Danish production, Day of Wrath, is an extraordinarily exciting experience. These two films, produced at an interval of nearly twenty years, scarcely reveal the difference in their ages. The motion picture is always more likely to date itself than any other art, partly because it relies as no other art ever has upon technology. But these two films, remembered together, seem to be of the same moment; their passionate directness is of no specific day. Such agelessness in any art is usually the result of a highly personalized style. The artist who is branded as of his age dates within his lifetime; the individualist who goes his own way-Blake, El Greco, Berlioz, at their most original-is as fresh today as ever. A style that represents a coherent and considered judgment of life, even in the flickering light of the cinema, transcends fashion or technical development. Dreyer's style is wholly pictorial. One of these films is a sound film, the other silent, but in both it is visual images that we remember. There are some striking effects on the sound track of Day of Wrath, but we remember the faces, lights, and shadows more vividly than the sounds. Even the use of the hymn from which Day of Wrath draws its title is impressed upon us pictorially; we cut from the agonized face of the ancient witch as she falls forward upon the bonfire to the witnessing choirboys as they sing the austere hymn whose song is so discordant with its angry words. But it is the blank innocence of their angelic faces that jars our hearts more than the sound of the high, unrepentant voices. Carl Dreyer's style seems an extraordinarily simple one, and at
卡尔·德雷尔的世界
在看过卡尔·德雷尔最近的丹麦作品《愤怒之日》之后,参观1928年在法国拍摄的《圣女贞德受难记》是一次非常激动人心的经历。这两部电影的制作间隔将近二十年,几乎看不出它们的年代差别。电影总是比任何其他艺术更有可能过时,部分原因是它比任何其他艺术都依赖于技术。但是,这两部电影放在一起回忆起来,似乎是属于同一时刻的;他们热情的直率没有具体的日期。在任何艺术中,这种永恒通常是高度个性化风格的结果。被标明年龄的艺术家,其日期是在其生前;走自己的路的个人主义者——布莱克、埃尔·格列柯、柏辽兹,在他们最具独创性的时候——今天依然新鲜。即使在闪烁的电影灯光下,一种代表连贯和深思熟虑的生活判断的风格,也超越了时尚或技术的发展。德雷尔的风格完全是画面化的。其中一部是有声电影,另一部是无声电影,但我们记得的都是视觉图像。《愤怒之日》的音轨上有一些引人注目的效果,但我们对面孔、灯光和阴影的记忆比声音更生动。甚至《愤怒之日》标题所取材的那首赞美诗也给我们留下了生动的印象;我们把镜头从那个古老的女巫扑倒在篝火上的痛苦的脸,切换到目睹他们唱着严厉的赞美诗的唱诗班男孩,这首赞美诗的歌声与愤怒的歌词是如此的不协调。但是,比起那些高亢的、不悔改的声音,更能震撼我们心灵的,是她们天使般的脸庞上那种天真无邪的天真。卡尔·德雷尔的风格似乎非常简单
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:604180095
Book学术官方微信