‘Come Out of Here, My People’: Pandemonium and Power in Carl Theodor Dreyer's La Passion de Jeanne d'Arc. Redmon, A. H. Studies in French Cinema, 6(3):183--194, October, 2006.
‘Come Out of Here, My People’: Pandemonium and Power in Carl Theodor Dreyer's La Passion de Jeanne d'Arc [link]Paper  doi  abstract   bibtex   
Argument about La Passion de Jeanne d'Arc (Dreyer, 1928) focuses on the film's eccentricities to such an extent that the peculiarities of Dreyer's film become exaggerated and any sort of narrative cohesion is lost. Even the best readings of Dreyer's film contend that a gap between style and narrative structure exists. These readings undervalue the role a dynamic interpretation of the cross can play in understanding perceived gaps between narrative and style. This essay shows that a cohesive reading of the film emerges when the film is viewed through the apocalyptic vision of The Revelation to John, a book that, like Dreyer's film, has competing conceptions of the cross at the centre of its text.
@article{ redmon_come_2006,
  title = {‘{Come} {Out} of {Here}, {My} {People}’: {Pandemonium} and {Power} in {Carl} {Theodor} {Dreyer}'s {La} {Passion} de {Jeanne} d'{Arc}},
  volume = {6},
  issn = {14715880},
  shorttitle = {‘{Come} {Out} of {Here}, {My} {People}’},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=24279411&site=ehost-live},
  doi = {10.1386/sfci.6.3.183_1},
  abstract = {Argument about La Passion de Jeanne d'Arc (Dreyer, 1928) focuses on the film's eccentricities to such an extent that the peculiarities of Dreyer's film become exaggerated and any sort of narrative cohesion is lost. Even the best readings of Dreyer's film contend that a gap between style and narrative structure exists. These readings undervalue the role a dynamic interpretation of the cross can play in understanding perceived gaps between narrative and style. This essay shows that a cohesive reading of the film emerges when the film is viewed through the apocalyptic vision of The Revelation to John, a book that, like Dreyer's film, has competing conceptions of the cross at the centre of its text.},
  number = {3},
  urldate = {2015-09-26TZ},
  journal = {Studies in French Cinema},
  author = {Redmon, Allen H.},
  month = {October},
  year = {2006},
  keywords = {Apocalyptic, Cinematography, DREYER, Carl Theodor, 1889-1968, Editing, FRANCE, LA Passion de Jeanne d'Arc (Film), MIMESIS, MOTION picture producers \& directors, MOTION pictures, MOTION pictures -- Plots, themes, etc., Style, narrative},
  pages = {183--194}
}
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