칼 드라이어(Carl Th. Dreyer)와 로베르 브레쏭(Robert Bresson)의 영화에 나타난 ‘진정성 (Authenticity)’ 비교 연구 - 〈잔 다르크의 열정 The Passion of Joan of Arc (1928)〉 과 〈잔다르크의 재판 The Trial of Joan of Arc (1962)〉을 중심으로

〈The Passion of Joan of Arc〉 and 〈The Trial of Joan of Arc〉 are films thoroughly based on the formal record of the trial of Joan of Arc which was held in 1431. Both directors aimed at making a sort of `docu-drama`, faithfully depicting the authentic image of Joan of Arc. Dreyer clearly stated his own interpretation of the text and saw Joan as `a young, pious woman confronted by a group of orthodox theologians and powerful judges`, while Bresson wouldn`t add anything to the text. This difference in interpretation of the document leads to the different style of the two films. Dreyer`s film has clear confrontational composition; `the innocent persecuted` vs `the cruel persecutors`. To empathize Joan as a `lonely persecuted`, Dreyer heavily depended on use of close-ups of the actress`s face. On the contrary, Bresson photographed the actors with medium shot size throughout the whole film. Instead of exploiting the actors` performance, Bresson was concentrated on showing `the activity of questioning and answering` or `what is questioned and what is answered`. By taking this strategy, Bresson produced the image of Joan as `a courageous, dignified person who faithfully represents `the voice of God`` and the image of the priests as `serious, orthodox believers who simply served on behalf of their religion`. Because of these different interpretation of the text and different concept of the `authenticity` of Joan of Arc, two directors made totally different films of her even though both of them aimed a documentary-like film.