〈분노의 날〉에 사용된 트랙킹 기법의 특성과 그 미학적 효과에 대한 고찰

Carl Th. Dreyer started to use long-takes created by the tracking shot technique from 〈Day of Wrath〉, which was made in 1943.<BR> Tracking shot is a cinematographic technique which is able to secure `truthfulness of duration` as it keeps `time` and `space` sustained without cutting. For Dreyer, who aimed to achieve the `artistic truth`, this technique must have been considered as a perfect technical method for his new style.<BR> Another reason why he admired the technique is that this moving camera can create a flowing rhythm which the film requires out of its dramatic needs. Day of Wrath is consisted of the specific flowing, rhythmical tempo which was created through the elegant, slow movement of the actors, deliberate dialogue and the wave-like camera movement.<BR> Meanwhile, Dreyer strictly keeps all visual elements and sound (including music) to the minimum. This strategy makes the audience, led by the uniquely slow, rhythmical tempo of the film, to concentrate on the psychological, spiritual conflict of the characters without interrupted by other elements. This naturally leads the audience to the state of meditation.<BR> As a result, Dreyer could achieve the following three different effects by adopting tracking technique; first, unique rhythm and tempo required by the drama itself, second, secure `artistic truth` by keeping time and space sustained in one shot, third, meditation effect created by the recognition of the slow flow of time.