This work offers a theoretical introduction to the portrayal of medievalism in popular film. Employing the techniques of film criticism and theory, it moves beyond the simple identification of error toward a poetics of this type of film, sensitive to both cinema history and to the role these films play in constructing what the author terms the “medieval imaginary.” The opening two chapters introduce the rapidly burgeoning field of medieval film studies, viewed through the lenses of Lacanian psychoanalysis and the Deleuzian philosophy of the time-image. The first chapter explores how a vast array of films (including both auteur cinema and popular movies) contributes to the modern vision of life in the Middle Ages, while the second is concerned with how time itself functions in cinematic representations of the medieval. The remaining five chapters offer detailed considerations of specific examples of representations of medievalism in recent films, including First Knight, A Knight’s Tale, The Messenger: The Story of Joan of Arc, Kingdom of Heaven, King Arthur, Night Watch, and The Da Vinci Code. The book also surveys important benchmarks in the development of Deleuze’s time-image, from classic examples like Bergman’s The Seventh Seal and Kurosawa’s Kagemusha through contemporary popular cinema, in order to trace how movie medievalism constructs images of the multivalence of time in memory and representation. Instructors considering this book for use in a course may request an examination copy here.
What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism.
Duringtherest ofthe thirteenth centry, the Teutonic Knights were forced to suppressa series ofPrussian revolts before ... based—is the conquestof Valencia, an important portcity on Spain's eastern coast alongthe Mediterranean.
And why is this important? In this book, the first evidence-based exploration of the wider public's understanding of the Middle Ages, Paul B. Sturtevant adapts sociological methods to answer these important questions.
Queer Movie Medievalisms is the first book of its kind to grapple with the ways in which mediations between past and present, as registered on the silver screen, queerly undercut assumptions about sexuality throughout time.
In this first ever book-length treatment, 11 scholars with a variety of backgrounds in medieval studies, film studies, and medievalism discuss how historical and fictional medieval women have been portrayed on film and their connections to ...
This collection of essays analyzes film representations of the Crusades, other medieval East/West encounters, and the modern inheritance of encounters between orientalist fantasy and apocalyptic conspiracy.
See Bill Warren, The Evil Dead Companion (New York: St. Martin's Griffin, 2000), pp. 124–26 for a description of the latex costume necessary to create Henrietta, as well as a photo of Ted Raimi semiclad in the costume.
Ayto, John. Twentieth Century Words. Oxford: Oxford University Press,1999. Bachmann, Holger. “TheProduction andContemporary Reception of Metropolis.” In Mindenand Bachmann, Fritz Lang's Metropolis. Bacon, Dolores [Mary Schell Bacon].
the poet and rascal, has proven immensely popular for filmmakers who have turned to a modern, rather than a medieval, source for their screenplays: If I Were King, a ¡90¡ novel (then stage play) by Justin Huntly McCarthy.
The Year's Work in Medievalism includes vetted essays from the Studies in Medievalism--now International Society for the Study of Medievalism--annual conference and from submissions to the editor throughout the year.