La imagen en primer plano: La pasión de Juana de Arco y el poder del rostro


Abstract
Two peculiarities of the film The Passion of Joan of Arc are explored in this essay: its unusual close-ups and its strongly expressive character. We start from the idea that both characteristics are closely related and we seek to clarify this relationship making use of Gilles Deleuze’s affection-image and Georges Didi-Huberman’s dialectical image.
Keywords afección  affection  close-up  face  image  imagen  movement  movimiento  primer plano  rostro
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