in a way that has
the effect of breaking down some of the more formal academic hierarchies
and disciplinary distinctions that have often set medieval and
medievalism studies at odds with each other. And in a most conspicuous
example, the HBO television series GameofThrones , based on
George R. R. Martin’s A Song of Ice and Fire , regularly brings
scholars and fans into the immediacy of online
actually present in Larsson’s novels.
15 See Larsson 2010a : 710 (the dug-up grave) and 724 (Blomkvist finds and saves Salander).
16 I have discussed Larsson’s use of crime fiction genres extensively in Bergman ( 2013 ).
Arnold, Martin (2018), Dragon-power: From ancient mythology to ‘Gameofthrones’ (London: Reaktion).
Beeler, Karin (2006), Tattoos, desire and violence: Marks of
.) The questions remain: what is it about Frank
Darabond’s apocalyptic zombie TV series or David Benioff and D.
B. Weiss’s The GameofThrones that their promotional
teams should ostensibly choose to turn back the clock by presenting
their franchises in the form of a medium that was already venerable by
the start of the nineteenth century? Why did Heinz Keller, in his
chilling meditation on the wars in
throne in the HBO series GameofThrones
(2011–) matches elements of Lucifer's piercing
throne with its dazzling array of blades; however, the iron
throne itself does not pierce the flesh of its occupant (and
according to author George R.R Martin, the throne in his novels
is much grander than that depicted in the popular television
series). The art of the
, dramatic and
most influential examples of a phenomenon we call ‘portal medievalism’:
fictions that foreground the mode of entry into (or out of) medieval
space and time. Where medievalist fantasies such as The Lord of the
Rings or GameofThrones present worlds whose medievalist
mise-en-scène is utterly self-contained, portal medievalism is
structured more literally around the transition from one
been popular in
Gothic marketing but since the popularity of the GameofThrones
TV series (2011–) and Daenerys Targaryen’s three dragons,
the theme has taken on a new lease of life. Dragon motifs also draw on
Celtic aspects of Goth and Gothic literature (with the Mabinogion
being a key text). Fairy waifs clad in purple and black, sword-wielding
bat-winged women-warriors and lissome vampirellas