Showing: 10 October 2018
Bruno Dumont’s metal musical Jeannette: The Childhood of Joan of Arc is a wildly different take on the much-loved, and often-adapted, myth of Joan of Arc.
Revolutionary and martyr, Joan’s place in our cultural imagination has been shaped by the way she has been depicted on-screen, by (male) directors from Georges Méliès to Carl Theodor Dreyer; from Robert Bresson to Paul Verhoeven and Luc Besson, and by (female) actors from Ingrid Bergman and Jean Seberg to Hedy Lamarr and Sandrine Bonnaire to Milla Jovovich. Dumont’s recent film challenges both these cultural imaginings, and ideas about historical representation and authenticity. Certainly, Joan as we know her, is less a historical figure than a mythological one.
Dumont’s film may also be read as a challenge to our ingrained ideas about emotion, and especially the ways in which emotion is often positioned as antithetical to reason. For women, the opposition of emotion and reason has long served to undermine political agency and authority. Is there a way to restore Joan’s humanity and her reason? Does Dumont’s experimental and perhaps downright bizarre formal approach offer us a new way to understand the woman whom we think of as Joan of Arc?
Dr Jennie Carlsten works for Film Hub NI, where she is researching the UK’s community cinema network. She has taught film studies at Ulster University and Queen’s University, Belfast. Jennie has published on film and history, the role of emotion in film viewing, and Irish film; and is currently working on a book about anger and cinema.
Also see: Jeannette: The Childhood of Joan of Arc
The ever-unpredictable Bruno Dumont (Li’l Quinquin) takes another thrilling hairpin turn with this audacious, 15th century-set heavy metal musical composed by Igorrr (aka Gautier Serre).
Drawing on a range of local and international films and filmmakers, this talk will provide an overview of key developments of women in film over the last 50 years.