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A paradox
Sarah Salih

a royal hall (Figure 5): Camelot ’s world has one source of power and authority, the monarchy, not the dual powers of lordship and church of medieval history. The Winchester Round Table is perhaps the most interesting of the objects, for it is an artefact which neatly encapsulates the multiple media and times of Arthurianism. It was probably made in the late thirteenth century for an Arthurian

in Medieval film
Linguistic difference and cinematic medievalism
Carol O’Sullivan

]), pp. 152–227. 2 Medieval film has been defined in a number of ways, and potentially covers an enormous range of films engaging with medieval history, texts, characters and/ or themes; see, e.g., Martha W. Driver and Sid Ray, ‘Preface: Hollywood knights’ in Driver and Ray (eds), The Medieval Hero on Screen: Representations from

in Medieval film
Abstract only
Anatomy of a metaphor
John M. Ganim

-known Kurosawa film, Throne of Blood (1957), sets Shakespeare’s Macbeth in medieval Japan, also recalling the noir world of betrayal, ambition, murder, a recursive plot and a devious and manipulative female character. If Kurosawa’s Throne of Blood combines Shakespeare’s version of medieval history with certain noir characteristics, it is certainly a nod to an earlier filming of

in Medieval film
Andrew Higson

is a story chosen for its ability to address current concerns. The filmmakers thus use a version of medieval history in Kingdom of Heaven to address twenty-first-century tensions between East and West, Islam and Christianity – yet they managed to invoke the wrath of conservatives in both camps. On the one hand, they received death threats from Muslim activists who saw any revival of the crusader

in Medieval film
Marcia Landy

, Condottieri uses myth and allegory differently from Lang’s spiritualised treatment of the hero’s life and death. What has been generally considered worthy of comment about the film is its partisan, if not propagandistic, appropriation of Italian medieval history and, as many critics and viewers have commented, its evocation of the figure of Benito Mussolini through the figure of Giovanni delle Bande Nere. 21

in Medieval film
Timing The Birth of a Nation
Anke Bernau

democracy’. 7 Unsurprisingly, therefore, Jefferson was also an ardent proponent of teaching early medieval history, law and Anglo-Saxon at the newly emerging universities of North America. 8 Underlying such views of the early medieval – specifically Anglo-Saxon – origin of American institutions was the ‘germ theory’, proposed in the 1880s by the historian Herbert Baxter Adams, under whom both Woodrow

in Medieval film
Peter Marks

. 49 John Aberth, A Knight at the Movies: Medieval History on Film (London, Routledge, 2003 ), p. 24. 50 Ibid ., p. 25. 51 Ibid . 52

in Terry Gilliam
The early Middle Ages, c. 450 –c. 1050
Editor: Stephen Mossman

This is the first of a two-volume textbook that is aimed at first-year undergraduates as they begin their study of medieval history. It covers the period from the so-called ‘fall of Rome’ in the course of the fifth century through to the ‘Norman moment’ in the course of the eleventh. The textbook covers the broad geographical area defined by the former Western Roman Empire in an even-handed fashion, giving equal attention to Iberia and to Sicily as to England and to Francia. Each chapter deals with a given region within a defined chronological framework, but is structured thematically, and deliberately avoids a narrative presentation. The topics of governmentality, identity and religiosity serve as broad overarching categories with which to structure each chapter. The authors outline the scholarly debates within each field, explaining to a student audience what is at stake in those debates, and how different bodies of evidence and different interpretations of that evidence give rise to different perspectives upon early medieval European history. Medieval history can seem to the student as if it were an impenetrable thicket of agreed fact that just has to be learned: nothing could be further from the truth, and this textbook sets out to open the way to an engaged understanding of the period and its sources.

Abstract only
Laura Peters

This introduction presents an overview of the key concepts discussed in this book. The book argues that the prevalence of the orphan figure can be explained by the central role which the family played at the Victorian era. In stressing the importance of family, home and blood relations, it offers a window on to a number of discourses on the importance of the family in circulation during the Victorian era. The book considers various literary examples, and discusses a conceptual model to understand orphanhood. The book also argues that the orphan plays a pharmaceutical function in Victorian culture: the orphan embodies a surplus excess to be expelled to the colonies. It finally looks at the exiling of difference, in George Eliot's Daniel Deronda and the return of the exiled orphan from the colonies to the heart of empire, London, in Charles Dickens's The Mystery of Edwin Drood.

in Orphan texts
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Laura Peters

The author establishes a discursive context in which to read the orphan figure as embodying a difference within the family. To do so, she details the figure of Heathcliff in Wuthering Heights against a number of discourses, namely, those of the foundling, the orphan as foreigner, and the orphan as criminal. Heathcliff embodies the difference within which plays a pharmaceutical function disrupting yet ultimately reinforcing notions of family and nation. Throughout Heathcliff remains unknowable and unassimilable: a racialised foreign figure with no known origins who attempts to dispossess the indigenous families. The author further details Heathcliff in light of a strand of popular writing which narrativises the orphan figure as embodying difference within Victorian culture. She finally offers a representative example of a few types of popular orphan narratives in order to explore the concern with the orphan figure in these types of popular writing.

in Orphan texts