Joan of Film

<p> Joan of Arc was such a familiar figure that filmmakers have employed her from the inception of film as a study in faith and victimizationa national symbol in France but capable of universal significance as the image both of martyrdom and the female warrior. According to the essay “Joan of Arc and Film” that forms part of the lavish CD set <em>Jeanne d'Arc: Batailles &amp; Prisons</em> (<em>Joan of Arc: Battles and Prisons</em>), she was the subject of one of the first movies, an 1895 short by Thomas Edison. And at least eight more were made before the beginning of World War I, including one by the pioneer of special effects, the celebrated Georges Melies. </p> <p>The essay by Robin Blaetz of Mount Holyoke College provides a succinct overview of “the heroine's presence” in 20th century culture and “charts a compelling record of changing cultural attitudes toward women, war, nationalism, the Roman Catholic Church” and other issues. And it tracks Joan's major moments in film. Cecil B. DeMille's <em>Joan the Woman</em> (1915) was the director's first historical spectacle. The most recent Joan feature, <em>The Messenger</em> (1999) from French action director Luc Bresson, starred Milla Jovovich. Most beloved by film historians is Danish director Carl Theodor Dreyer's <em>La Passion de Jeanne d'Arc</em> (1928) with its tight close-ups and sets inspired by medieval miniatures. </p> <p>The article is one of several essays (presented in French, English, German, Italian, Catalan and Castilian Spanish) whose subjects include the various political uses to which Joan has been put along with accounts of her history and the legends that grew around her. It's almost easy to forget that he hard-covered, sumptuously illustrated set is wrapped around a pair of CDs by an early music star, viola da gamba master Jordi Savall, who along with a distinguished roster of musicians performs compositions from Joan's era as well as new arrangements. </p>