Mulvey's idea of ​​delay leaves room for the pause which is also part of the narrative. Chatman argues that the definition of description as simply intended to represent a scene or setting "eliminates among other things the description of an abstract state of affairs, or of a character's mental posture, or, indeed, of any visual or displayable thing" (446). But perhaps Chatman has never seen “The Passion of Joan of Arc.” Almost the entire film focuses on Joan of Arc's pleading expressions as she is threatened and persecuted. Through close-ups of his face, the viewer enters his mindset. Yet Chatman states that: “close-ups in no way invite aesthetic contemplation” (450). It's hard to agree with this, though, because it would be difficult to watch a film like “The Passion of Joan of Arc” without ruminating on Joan's bewildered inner workings. The close-up does not distract the viewer from the narrative; has a purpose and integrates with the main plot of the