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"The Neomyth In Film: The Woman Warrior from Joan of Arc to Ellen Ripley." In Barbara Creed re-structures Joseph Campbell’s Hero’s Journey for the cinematic heroine in what they term as the “neomyth,” which analyzes “journey of the heroine as a mythic quest.” This includes “not just the journey of the female action hero but of the hero in all her manifestations.” In doing this, Creed argues that “Joan of Arc is the quintessential woman warrior” whose story “has exerted a profound influence on the cinema’s representation of female heroism.” Comparing Joan to Ripley, Creed argues that “Joan was an androgynous figure who threatened male power b/c she made it very clear that a woman can fight like a man yet retain her female identity.This concept has been carried through to the Harty provides one of the few academic pieces on this rare piece of Nazi propaganda, focusing on the Nazi overtones in the plot, production, and cast and crew, as well as the almost-universal praise from critics.
Edited by Ted Mico, John Miller-Monzon, and David Rubel, 54-59. "Rethinking National Cinema: Dreyer's is "the most authoritative chronicle of Joan's story ever put on film" while "it eschews all the obvious opportunities for melodrama and spectacle." Without any climaxes or known actors, it "is not an audience pleaser," a point Pipolo makes without criticism, favoring historical accuracy over entertainment. "The Reel Joan of Arc: Reflections on the Theory and Practice of Historical Film." 's "Medieval History at the Movies" in detail, laments the lack of consistent methods for analyzing history on screen, and presents an approach on how historians can judge accuracy of historical films. "Contrasting Visions of a Saint: Carl Dreyer's Scalia compares the filming styles of these two films, concluding, “we can see that Dreyer worked well within a style [André] Bazin would come to define as Neorealism in bringing the human story of Joan to life, while Besson pursued a kind of nation-founding mythic tale of epic scope, one that necessarily sublimates the divine mission of Joan to the historical qualities of his spectacle.” Scalia focuses on the stories, camera techniques, and framing of faces. He shopped it around to several production studios including RKO, the eventual distributor of Fleming’s (1948).
A Tappan Wilder provides a superb introduction about the history of the treatment and Wilder’s life and career at the time.
Blaetz provides anecdotes on the production and reception of each film and actress.
While there is not an overarching thesis per se, the work does borrow elements from the author’s Ph D thesis, concluding, “As a female in the male game of war, Joan is an outsider who must either be sexual (as seen first in De Mille’s eroticized Joan), maternal (as in Delannoy’s ‘Jeanne’), or insane.
The links to downloadable documents in the following list are for the ‘author versions’ of book chapters or exceptionally articles in journals that are not readily available, i.e. There may therefore be some differences between them and the final published version.
The links in the title of journal articles are to their location in the journal concerned. (with Mary Harrod) ‘New directions in contemporary French comedies: from nation, sex and class to ethnicity, community and the vagaries of the postmodern’, introduction to the special issue ‘New directions in contemporary French comedies’, , edited by Alex Hughes and Keith Reader, London/New York: Routledge: Adjani (3), Ardant (26), Auteuil (38), Balasko (45), Baye (53), Béart (54-55), Belmondo (61), Berri (63), Binoche (71), Birkin (71-72), Blier (72), Bohringer (73), Bonnaire (74), Brialy (81), Chabrol (96), Delon (147), Depardieu (151), Huppert (288), Marceau (355-356), Miou-Miou (374-375), Pialat (424), Poiré (432), Rappeneau (454), Stars (507-508), Tati (515-516), Tavernier (516).
The author provides context around where and why the film did well and did not do well, comparing and contrasting urban and rural parts of the country. The author concludes it "is essentially the same as the well-known version" housed in several museums. "'Come Out of Here, My People': Pandemonium and Power in Carl Theodor Dreyer’s (1948) containing over 80 black and white photos, as well as extracts from the screenplay. The story follows the drama between the screenwriter, producer, director, and main star, Ingrid Bergman. Using Joan of Arc on screen as the primary focus, Bernau explores the conflicting, fluid views and definition of virginity from the medieval Christian world and the 21st-century secular world. “‘Blaetz examines the history of actresses playing Joan of Arc including their selection, and treatment by directors and the press during and after their performances. She transformed from a symbol of sacrifice and past glory during the First World War to an inspiration of fashion during the Persian Gulf War.
In addition, there is focus on Catholics who were offended by portrayals in the film. The last page contains production notes insisting on the films historical fidelity along with details on the research and experts involved in the film. Sragow accurately describes it as a "hydra-headed monster of collaboration," demonstrating how each of the heads contributed unique aspects to the final product. The author finds some recurring themes, as the press tends to focus on the weight, age, and nationality of actresses in the role. Charlottesville: University of Virginia Press, 2001. New methods to use Joan arose as women entered combat as well.
The first chapter of this book examines the US film industry in the context of the period before the country entered World War I.
De Bauche focuses predominantly on the production, publicity, and reception of .