The film we watched of Joan of Arc does focus solely only on the end of her life, and gives little reference back to the rest of her life except some very vague references here and there to her miracles and such. I think the director did this so there wouldn't be as much back context as to what was happening, and instead wanted to focus more on the emotions of the trial and subsequent actions therein, such as the trickery used to make her give in and answer their questions.
the film does make heavy use of close ups throughout to convey emotion, but it also uses a few other innovative techniques for its time, one of which is the tracking shot, where the camera pans and follows through a scene instead of being static. This is used to great effect throughout the film, even starting fromt he beginning. It uses this tracking shot to show the judges in the trial, but doesn't let you get a good look at them like you otherwise would, instead, it just pans through them to give a sense of more of mass scale than of emotionalism, so the emotion is focused only on a few select characters in the film. In relation to "the subjective camera" idea, this fits perfectly, emphasizing particular scenes and actions while others are given less time to be focused upon, trying to evoke particular moods and feelings from what they present.
The use of light and darkness in Caligiri and Metropolis were used to spectacular effect for what they were trying to convey in each piece. The light is used to create happy, more cheerful atmosphere, while darkness and shadow are used to give that gloomy, spooky feeling. This is used heavily in Caligiri to give that feeling of darkness and fright in its alleys and nights, and has become a classic of horror films for its spectacular use.
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