Abstract
In 1928 Carl Dreyer directed The Passion of Joan of Arc, investing time in the representation of the faces of every character. It enabled the viewer to see into the soul of each of them in the stylized images of reality. Later, other directors like Robert Bresson and Andrei Tarkovski also used time as a means of revealing the t(T)ranscendent in the image in movement. In the early 2000s, a new genre of cinema appeared – expanded cinema – which has also made use of time as a form of resistance to consumer cinema, and which seeks to express the mystery of the world through its banality, which is also its beauty.
| Original language | Portuguese |
|---|---|
| Pages (from-to) | 207-243 |
| Number of pages | 37 |
| Journal | Didaskalia |
| Volume | 46 |
| Issue number | 2 |
| DOIs | |
| Publication status | Published - 2016 |
Keywords
- Cinema
- Time
- Transcendence
- Modern cinema
- Spiritual cinema