Harvey Roy Greenberg wrote: >For a piece I'm working on about BREAKING THE WAVES. >lst: I was struck by the frontality of the film. [snip] >Relatively few long shots in this film. Does this accord with others' >experience? I felt the constant use of close-ups created a claustrophobic intimacy with the characters which seemed influenced by a) television aesthetics (heavy on the close ups; "reality" shows) b) "home-video" strategies (swish pans) which look startling + "new" on the big screen; maybe they even lend a certain "authentic" rough look to the piece, mirroring the tumultuous experiences of the main character. To describe my disatisfaction with the visual strategies concretely, there was e.g. a minor scene on a cliff where the two main female characters argue ( the two sailor friends had driven there with them) -- in the scene, there was no sense of space, how landscape could figure into their argument etc., just the same medium to close-up framings as in the indoor locations. > >2nd: Need list of associated films where a woman redeems JOAN OF ARC (various versions), so forth. In an interview with the actress Emily Watson who plays Bess, she states that von Trier had her watch Dreyer's "Passion of Joan of Arc" and Fellini's "La Strada". Ines Sommer ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]