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Nordic Film Cultures and Cinemas of Elsewhere$
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Anna Westerstahl Stenport and Arne Lunde

Print publication date: 2019

Print ISBN-13: 9781474438056

Published to Edinburgh Scholarship Online: May 2021

DOI: 10.3366/edinburgh/9781474438056.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 22 September 2021

Dreyer’s Jeanne d’Arc at the Cinéma d’Essai: Cinephiliac and Political Passions in 1950s Paris

Dreyer’s Jeanne d’Arc at the Cinéma d’Essai: Cinephiliac and Political Passions in 1950s Paris

Chapter:
(p.305) 23. Dreyer’s Jeanne d’Arc at the Cinéma d’Essai: Cinephiliac and Political Passions in 1950s Paris
Source:
Nordic Film Cultures and Cinemas of Elsewhere
Author(s):

Casper Tybjerg

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474438056.003.0023

This chapter addresses Carl Th. Dreyer as a Pan-European filmmaker during the Cold War and in relation to the ways in which Scandinavian art cinema was canonized by Cahiers du cinéma and other French outlets of public discourse. It argues that Dreyer’s 1928 film The Passion of Joan of Arc (La Passion de Jeanne d’Arc) is a key contribution by a Nordic director to French film history and examines the importance of the 1952 French re-issue of the film and the contemporary critical reaction to it. The French film scholar Laurent Jullier has argued quite sharply that the standard version of the history of film style has been excessively influenced by Parisian cinephiles clustered around Cahiers du cinéma and certain other institutions. This chapter pays particular attention to the role of Cahiers’ co-founder and editor Lo Duca in the reception history of La Passion de Jeanne d’Arc.

Keywords:   Dreyer, art cinema, Paris, re-issue, film style, Lo Duca, Joan of Arc, cinephilia

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