Here are two replies to C.T.'s excellent post on "Word and Image in Vivre Sa Vie." These comments also allow me to nuance some of the arguments I made in class last night.
(2) Despite the placement of La Passion de Jeanne d'Arc on the side of image and on the side of silence (it being a silent film), Carl Dreyer's great 1928 work is itself a complex examination of the relation between words and images. Here, I refer specifically to the way the filmmaker places words (logos) on the side of patriarchy or Law, becoming the means whereby the tribunal comes to condemn Joan of Arc and consign her body to the pyre. Dreyer uses historical documents to accurately replicate the actual words used at Joan's trial and he juxtaposes these words, used as intertitles, with a series of revelatory close-ups (but revelatory of what, exactly?). This reminds us that Godard too doesn't simply forego words or language and in the name of a silent image. Rather, he will increasingly foreground their relation, showing us – among other things – how words, in cinema, can become images (and, in the process, lose their fixed sense).