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Martin Phillips

‘etched . . . in the young John Ronald’s heart’. Garth himself clearly employs a rural retrospect in this comment, constructing the countryside as an ‘older world’, a view which Tolkein also arguably shared in that he spoke of ‘a particular love of what you might call central Middle English countryside, based on good water, stones and elm trees and small, quiet rivers and . . . rustic people’ (Tolkein

in Cinematic countrysides
Jo George

about Jarman’s extensive engagement with early period literature are also worth quoting here: ‘His study [at King’s College, London] of Old and Middle English, of mediaeval and Elizabethan texts, would provide him with a multifaceted literary compass with which to navigate the coming years. Piers Plowman , Chaucer, Donne, Marlowe, Shakespeare all profoundly influenced his thought and in many cases fed into subsequent projects.’ 33 A brief survey of the medieval influences on his films will reveal that his first feature, Sebastiane (1976), was a saint’s life in the

in British art cinema
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James Chapman

. The use of modern language was a particular issue. Gethyn Stoodley Thomas in the Western Mail averred that ‘scriptwriter Richard Carpenter has wisely eschewed any attempt at ancient dialogue. No Middle English or Norman-French here, just simple modern stuff with a touch of Cockney and Mummerset to add flavour’.35 But Philip Purser in the Sunday Telegraph found himself out of favour with the spoken idiom: ‘Carpenter’s weaknesses have been regular lapses from good plain English into current, sloppy or – worst of all – trite English, inevitably bringing out sloppy

in Swashbucklers
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R. S. White

means ‘a place or medium in which something is originated ... a point of origin and growth’ and is derived from Latin mater for ‘breeding female’ and the late Middle English word for ‘womb’. As a unit of thought a cliché is the fons et origo for all that is shaped into existence thereafter by using it. We live by clichés, and often we die by them, in the sense that they can reconcile us to the

in Shakespeare’s cinema of love
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The a-chronology of medieval film
Bettina Bildhauer and Anke Bernau

’, 46–7. See also Gayle Margherita, The Romance of Origins: Language and Sexual Difference in Middle English Literature (Philadelphia: University of Pennsylvania Press, 1994), esp. pp. 5–6. 31 Evans, ‘Chaucer in cyberspace’, 47

in Medieval film