Charlle de Gaulle, au cause de son attitude ves les anglais, il a été accusé d'etre comme Jeanne d'Arc. Il est aussi associe avec la liberation de la France de les mains etrange

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Charlle de Gaulle, au cause de son attitude ves les anglais, il a été accusé d'etre comme Jeanne d'Arc. Il est aussi associe avec la liberation de la France de les mains etrange .

le film

le mettre en scène est le danois Carl Theodor Dreyer. L'entreprise francais le Société Générale des Films l'a employé à faire La Passion. Une reproduction en mini du château de Rouen a été construite pour le film, qui s'agit de les derniers jours de la vie de Jeanne. La titre faait l'apple aux pieces du passion de jésu christ. La compagnie inclut: Renée Falconetti (Jeanne), Eugène Silvain (Bishop Cauchon), André Berley (Jean d'Estivet), Maurice Schutz (Nicolas Loyseleur ), Michel Simon (Jean Lemaître), Antonin Autard (Jean Massieu), Jean d'Yd (Guillaume Evrard), et Ravet (Jean Baupère).

L'histoire de Jeanne a été favorisé dans les manuels des ecoliers apres la mode de l'historien Michelet. Les documents tribunales ont été publiés pour la première fois en 1920, la meme an qu'elle etait canonise par le Pape XX.

elle est perçue comme une fille rurale qui s'est tenue contre l'autorité de son temps durs.

ce film est considéré comme un de les plus grands films a jamais fait.

As Anderson and Zinsser note;

Sixteenth-century France named her Jeanne d'Arc and made her a national heroine. The men of subsequent centuries took her story for their plays and poems, her image for their statues. She became the spirit of France, the maiden, the holy warrior, the Republican and Napoleonic symbol for opposition to the English and for those who would protect France from foreign domination. In the Second World War Charles de Gaulle used her standard, the Cross of Lorraine, as the symbol of Free France. (p. 160).

Bonnie S. Anderson and Judith P. Zinsser, A History of Their Own: Women in Europe from Prehistory to the Present (Penguin, 1988), vol. 1.

The Joan of Arc story had been a popular stage success for the socialist playright George Bernard Shaw (1923) - filmed as Saint Joan (1957) by Otto Preminger with Jean Seberg as a very dull Joan. An early film about Joan had converted a young Cecil B. DeMille to a lifetime of using the medium of film to espouse religion via cinematic spectacle. Also filmed with Ingrid Bergman as a very devout Joan in 1948 by Victor Fleming.

The reaction of French audiences who might have expected to see in 1927 (13 years after the invasion of the NE of the country by the Germans in WW1) a traditional patriotic account of Joan as a resister of foreign invasion (i.e. the English in 15thC). Yet in the film CD hardly shows the 100 Years War at all, shows the English captain Warwick (a symbol of the state and the military) and Cauchon the French bishop (a symbol of the Church) as allies in the persecution of Joan. The differences are one of class, learning and religion instead of nationality. Buss describes the film as a "parable" (using the convention of genre like historical film to "translate into fictional narrative some profound concerns of society at a particular time" (p. 26-7). In this case a parable of popular revolt and individual resistance to the oppression of the State. Note the popular uprsing at the end of the film and its brutal suppression. The use of the Cross of Lorraine, the symbol of Joan's province, as a symbol of French resistance and nationalism. Used by Charles de Gaulle in 1940 in the Free French struggle against the Nazis. At the same time the collaborationist Vichy regime used the cross and the Joan story in school textbooks. Note the use of the Joan image in Wise's WW2 film Mademoiselle Fifi (1944) as a symbol of French resistance (the statue of Joan at Rouen covered in a shroud).

Le 8 mai 1959, le général de Gaulle préside les cérémonies commérant la délivrance d'Orléans par Jeanne d'Arc. C'est Mademoiselle Deschamps qui personnifiait Jeanne d'Arc cette année-là.

© - Elysée

It is said that she held a small replica of the cross of Lorraine to her breast as she prepared to die.

[Joan]carried a banner with the cross of Lorraine on it,

The poster "Joan of Arc," by Haskell Coffin (1878-1941), was commissioned by the United States Treasury Department to urge people to buy war savings stamps.

In 1456, in order to strengthen the validity of Charles VII's coronation, the trial was declared irregular. In 1904 she was designated Venerable, declared Blessed in 1908 and finally canonized in 1920.

funny cartoon link--weird---
link--- Joan of Arc is the one medieval figure everybody knows. But what they acknowledge varies wildly. To Shakespeare, Joan was a witch; to Shaw, a proto-Protestant; to Twain, a true saint in a godless universe.

Joan’s heroic reputation endured, surging with Romanticism in the nineteenth century. After the disaster of the Franco-Prussian War, anticlericals and Catholics fought over Joan’s significance as patriot or saint, even erecting rival statues at her birthplace. Socialists put up one of Joan the warrior inspired by La France while Catholics showed her as a pious peasant with her saints. The atheist-led nationalists of Action Française promoted her canonization as strongly as devout Catholics. During World War II, the Vichy government used her for anti-British propaganda while the Free French made her Cross of Lorraine their emblem.

in her own day this woman of pity was an agent of hope to people ravaged by generations of war. She stands for the weak overturning the strong. there is more information about Joan of Arc than about any other medieval teenager. This is due to the fact that the records of the trial condemning her have been preserved, as well as the records of the rehabilitation trial.

The complete trial records (and many other relevant 15th Century texts) were finally published by the French scholar Jules Quicherat from 1841 on. The liberal, anti-clerical and very patriotic French historian Jules Michelet, in two chapters of his Histoire de France, Volume X, also first published that year, used the same information to present the most impressive of all romantic interpretations of Joan of Arc.

Michelet dealt with Joan as an inspired girl from the people, as an incarnation of French patriotism, and as the victim of British political pressure and an evil ecclesiastical court.

Monsignor Dupanloup, the influential Bishop of Orleans, proposed the sanctification of Joan in 1869, partly, no doubt, for obvious parochial reasons. Orleans had been celebrating its liberation by Joan for centuries with a great annual civic festival. However, she was proclaimed "venerable" only in 1893. The liberal Pope Leo XIII wanted to mend fences with the Third French Republic and stem the erosion of Catholicism in France. He had decided that to honor Joan of Arc would help. The Maid from Lorraine had become a national icon in France, also because of the intensification of patriotic feeling after the Franco-Prussian War and the loss of Alsace-Lorraine to Germany.

Members of the French extreme right, in the meantime, had been proclaiming that they were the only true French patriots. They tried to monopolize the memory of Joan of Arc. Indeed, they have continued to this day to stage annual pilgrimages to Emmanuel Fremiet's horseback statue of Joan of Arc on the Place des Pyramides in Paris, (the most impressive of the many sculptures of Joan, to my mind), noisily shouting their offensive and xenophobic slogans. However, French patriotism had been significantly an outgrowth of the French Revolution, which remains an anathema to the right wing, and the reputation of Joan of Arc, too, had been fostered chiefly by left-wing republicans, including Michelet. Also, many of the self-proclaimed patriots and admirers of Joan of Arc among the reactionaries did not hesitate to collaborate with Nazi Germany after the fall of France in 1940. For many decades, they produced little except empty rhetoric about Joan, and indeed, the Free French under Charles de Gaulle and the Cross of Lorraine were more truly identified with her memory.

one of her companions-at-arms, the serial murderer Gilles de Rais, a close relative of the Duke of Brittany. .

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