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Theo Riches

concentrating on high political melodrama even at the expense of his wider ‘national’ sympathies. There is nothing exceptional, however, in his attributing motives of honour and shame to the protagonists of 978. By the time we enter the eleventh century, we can see a shift in the treatment of the incident. This is when we get our first extended narratives from the Empire and their interest in 978 is

in Frankland
Alison Tara Walker

experience time differently than men – that time is essentially gendered. Kristeva argues that masculine time is historical and linear while women’s time is linked to ‘anterior temporal modalities’, usually tied to gestation or characterised as having a cyclical nature. 3 Feminist film theorists such as Tania Modleski and Mary-Ann Doane have applied Kristeva’s notion of gendered time to melodramas of the 1940s

in Medieval film
Marcia Landy

: University of Minnesota Press, 1994), p. 103. 13 See Sue Harper, ‘Historical pleasures: Gainsborough and the costume melodrama,’ in Christine Gledhill (ed.), Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film (London: BFI, 1978), pp. 167

in Medieval film
Andrew Higson

’. This mode of representation is perhaps indicative of a shift in attitudes towards particular versions of the past. In the ‘gaslight melodramas’ of the 1940s, and in David Lean’s adaptations of Dickens’s Great Expectations (1946) and Oliver Twist (1948), it is the Victorian period that is horrendous and threatening, and against which true modernity can be defined. But in many of the refined costume

in Medieval film