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Andrew Higson

In recent decades there has been an obsession with the past in Western culture, manifested above all in the growth of the so-called heritage industry. Cinema has participated in this cultural shift in all sorts of ways, particularly in the case of films about the British past. Among such films made since 1980 have been a smaller number that offer some sort of representation of the Middle Ages or

in Medieval film
Thomas A. Prendergast and Stephanie Trigg

wide-ranging work in this field now participates in rich, diverse dialogues with other fields such as cinema studies, gender and race studies, historicism, colonialism, game theory, literary theory and fiction studies. 2 Nor is the antagonism between medieval and medievalism studies as pronounced as it used to be. There are a number of recent studies, publications and working groups that have

in Affective medievalism
The abjection of the Middle Ages
Thomas A. Prendergast and Stephanie Trigg

there is something like a form of cultural or historical abjection in the relations between modernity and the Middle Ages that is comparable. Contemplation of this form of historical abjection also presents itself as an emotional relationship to the past. As noted above, there are many familiar and possible routes to the abjected past. Much medieval cinema thrives on these

in Affective medievalism
Thomas A. Prendergast and Stephanie Trigg

the possibility of travelling back in time, as if to another country or region. We suggest, indeed, that the medieval past is one of the most popular destinations of such travel, because of its customary alterity from modernity. This has been a particular feature of medievalist cinema and its delight in the visual and scenic otherness of the medieval past: at once instantly recognisable but lovingly

in Affective medievalism
Marcia Landy

Introduction: whose Middle Ages? The cinema has long ransacked historical and literary texts for their spectacular appeal to popular audiences. Medievalism in film is no exception. From the era of silent film to the present, the Italian cinema, long inclined toward historical topics, has created versions of the medieval imaginary as popular entertainment and also as social

in Medieval film
Abstract only
Weaving around the Bayeux Tapestry and cinema in Robin Hood: Prince of Thieves and El Cid
Richard Burt

The Bayeux Tapestry as cinematic textilography The Bayeux Tapestry appears most often in historical fiction cinema as a prologue integrated into an opening title sequence, and, less frequently, in scenes of it being embroidered and assembled by women: Chimene (Sophia Loren) in El Cid (1961); Ophelia (Helena Bonham Carter) and other women in Hamlet (1990); and

in Medieval film
Fact, fiction, and film
Kevin J. Harty

Lost to the archives and, therefore, little known today, MGM’s 1928 silent Technicolor film The Viking , directed by Roy William Neill, nonetheless holds an important place in the history of cinema. 1 It was the last silent feature film that MGM produced in Technicolor, and one of only three silent films so produced, the others being The Toll of the Sea (1922), which starred Anna Mae Wong, and The Black Pirate (1926), which starred Douglas Fairbanks, Sr. 2 But, shortly after its release, The Viking all but disappeared from public screenings for two

in From Iceland to the Americas
Open Access (free)
The wall texts of a Percy family manuscript and the Poulys Daunce of St Paul’s Cathedral
Heather Blatt

in digital media and medieval studies. In particular, I employ the work of media theorist Mark Hansen, whose work has influenced the phenomenological approach to theorizing and analysing digital media. In ‘Wearable space’, an essay that became a chapter in Bodies in code, Hansen begins not phenomenologically, but with a nod to Gilles Deleuze’s Cinema 1: the movement image. He first focuses on a concept introduced by Deleuze, that of the framing function performed by the technical image (a function that includes, for example, the technologies of the photograph, the

in Participatory reading in late-medieval England
Transhistorical empathy and the Chaucerian face
Louise D’Arcens

accounts of the film, see Agnes Blandeau, Pasolini, Chaucer, and Boccaccio: Two Medieval Texts and their Translation to Film (Jefferson NC and London: McFarland & Co., 2006); Kathleen Forni, ‘A “cinema of poetry”: what Pasolini did to Chaucer’s Canterbury Tales’, Literature/Film Quarterly, 30:4 (2002), 256–63; and Tison Pugh, ‘Chaucerian fabliaux, cinematic fabliau: Pier Paolo Pasolini’s I racconti di Canterbury’, Literature/Film Quarterly, 32:3 (2004), 199–206. 34 The two versions discussed here are the live theatre version recorded in Bill Bailey, ‘Pubbe gagge

in Contemporary Chaucer across the centuries
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‘Snail-horn perception’ in Chaucer’s Troilus and Criseyde
Elizabeth Robertson

, 1360–1430 (London: Routledge, 1988), pp. 117–52 (pp. 121, 120 (emphasis in original)). ‘snail-horn perception’ in Chaucer’s ‘Snail-horn in Troilus andTroilus Criseyde and Criseyde 39 13 Quoted in Madeline Caviness, Visualizing Women in the Middle Ages: Sight, Spectacle, and Scopic Economy (Philadelphia: University of Pennsylvania Press, 2001), p. 25. See also Laura Mulvey, ‘Visual pleasure and narrative cinema’, Screen, 16 (1975), 6–18. 14 Quoted in Caviness, Visualizing Women, pp. 27–8. 15 Quoted in Sarah Stanbury, ‘The voyeur and the private life in Troilus

in Contemporary Chaucer across the centuries