LEADER 00000ngm a2200385ua 4500 
003    CaSfKAN 
006    m     o  c         
007    vz uzazuu 
007    cr una---unuuu 
008    160324p20161916cau137        o   vleng d 
028 52 1161430|bKanopy 
035    (OCoLC)945762899 
040    VDU|beng|cVDU 
099    Streaming Video Kanopy 
245 00 Joan the Woman|h[Kanopy electronic resource] 
264  1 [San Francisco, California, USA] :|bKanopy Streaming,
       |c2016. 
300    1 online resource (1 video file, approximately 138 
       minutes) :|bdigital, .flv file, sound 
306    Playing time: 134 min. 
336    two-dimensional moving image|btdi|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource |bcr|2rdacarrier 
500    In Process Record. 
500    Title from title frames. 
518    Originally produced by Flicker Alley in 1916. 
520    Joan the Woman (Cardinal Film Corporation, 1916) was Cecil
       B. DeMille's first great spectacle. In keeping with 
       theatrical tradition, DeMille sought a more formal and 
       stylized mode of acting from stars Geraldine Farrar and 
       Wallace Reid - a technique he continued in his late 
       historical films. Wilfred Buckland's art direction is 
       outstanding, and DeMille's social comments are subtle but 
       biting. The film also features a dramatic hand-colored 
       climax utilizing the Handschiegl stencil-color process. 
       The film became a prototype for DeMille's later 
       spectacles. His handling of the large battle scenes (with 
       the aid of seventeen cameras and a small army of assistant
       directors, including William deMille, George Melford and 
       Donald Crisp) was exceptional - equal to DW Griffith's 
       work in The Birth of a Nation and Intolerance. The real 
       strength of the picture, however, is found in the 
       director's provocatively compelling images: At Joan's 
       trial by torture, officials the Church are clad in white 
       hooded robes with black holes for eyes. DeMille frames his
       shot so that the top of Cauchon's mitre is out of frame, 
       and he looks like a black-clad grand dragon of the 
       invisible empire surrounded by Klansmen and hiding behind 
       a crucifix rather than a bishop of the Church. The empty 
       town square. An executioner drives a single horse cart 
       piled with kindling to lay around the stake where Joan 
       will meet her death. A lone dog is the only living thing, 
       barking a futile protest. As Joan is led to the stake, the
       Bishop Cauchon seizes her ornate crucifix, and as the 
       flames surround her, Eric Trent hands Joan a handmade 
       cross of simple twigs that she carries to her death. 
       Ultimately, in an effort to get more performances per day,
       the picture was drastically cut very early in the run. 
       This DVD release offers DeMille's director's cut and the 
       original hand-colored climax. William Furst's original 
       1916 score is performed by Christian Elliott at the J. 
       Ross Reed Wurlitzer, Sexson Auditorium, Pasadena, 
       California. 
538    Mode of access: World Wide Web. 
546    In English, Silent 
653    Early Film 
653    Film Studies 
653    Movies 
653    Religion & Philosophy 
700 1  DeMille, Cecil,|efilmmaker 
710 2  Kanopy (Firm) 
856 40 |uhttps://naperville.kanopy.com/node/161431|Available on 
       Kanopy 
856 42 |zCover Image|uhttps://www.kanopy.com/node/161431/external
       -image