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A paradox
Sarah Salih

), uses it to construct a nonmimetic aesthetic. 21 The uncertain visual identity of the Middle Ages means that the period is resistant to many forms of realism. The anti-mimetic Monty Python and the Holy Grail (1975), in which various modes of the illusory medieval – chivalric glamour, earthy squalor, quotations of medieval forms – jostle with the rude interruptions of modernity, may be the paradigmatic

in Medieval film
The abjection of the Middle Ages
Thomas A. Prendergast and Stephanie Trigg

not hard to identify: its untreatable diseases, its rudimentary dentistry, the brutality of its warfare, its ruthless patriarchal and compulsive heterosexuality, and the repressive enforcement of its religious practices. But perhaps the most enduring conception of medieval alterity is the superstitious and brutal nature of its judicial system. From ducking (mercilessly mocked in Monty Python and

in Affective medievalism
Linguistic difference and cinematic medievalism
Carol O’Sullivan

translated (or improvised) in the foreign language, mirroring the fact that the preoccupations of medieval film – as with historical film in general – tend to be not the historical vicissitudes of the past but the narrative, representational and/or political concerns of the present. 28 ‘This outrageous accent’: Monty Python and the abusive subtitles Perhaps one of the most

in Medieval film
Andrew Higson

Heaven , the postmodern anachronisms of Derek Jarman’s Edward II or A Knight’s Tale (2001), or the full Mel Brooks treatment of Robin Hood: Men in Tights . Each of these modes of expression, and especially the frequent confusion or tension between them, owes much to the Monty Python brand of medievalism in Monty Python and the Holy Grail (1975) and Jabberwocky (1977

in Medieval film
Marcia Landy

in another, later, television comedy set in the Middle Ages, Monty Python and the Holy Grail (1975). Tiburzia is ‘rescued’ by Brancaleone, and witchcraft and magic become central to the events that follow. This film is more attentive than L’armata Brancaleone to the outcast and diseased creatures of God and to physical, status and social difference. According to Monicelli, who not only

in Medieval film