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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
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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

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.

Gender adaptations in modern war films
Jeffrey Walsh

Wars represented in Western cinema are almost universally gendered as male, which corresponds to the battlefield history of twentieth-century warfare. War films, from The Big Parade to Saving Private Ryan, have always privileged the male point of view, masculine initiation rituals, and male spectatorship. In the cinematic representation of women warriors the gender of the director, in theory, should be significant. War films of the mid- to late 1990s supply a muted coda to the jingoistic war films of the previous decade by revisioning male soldiers in a less sexist, homophobic and confrontational manner. A contributor to feminist debate about masculinity in war texts, including films, whose work is both cogently written and theoretically sophisticated, is Susan Jeffords. By exploring the strategies that achieve the revitalisation of patriarchy as evident in film and other narratives, Jeffords offers a valuable set of categories, methodological practices and theoretical frameworks for other scholars.

in Gender and warfare in the twentieth century
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Family, gender and post-colonial issues in three Vietnam War texts
Marion Gibson

This chapter examines Vietnam through the post-colonial observer, J. M. Coetzee; the colonised, Le Ly Hayslip; and the one-time American soldier, Oliver Stone. Coetzee ensures that the reader is suspicious of suburban mythographer Eugene Dawn's reading of familial psychology. Like Coetzee, Stone was burdened by history and nation, and by gender and family, on public display during the film's making and release as his second marriage broke up. Hayslip's descriptions of the Vietnam War contrast starkly with Dawn's neurotically neat reading, and with Lyndon Johnson's simple image of family that stands behind it. Stone, known for personal engagement with issues in his films, made Heaven and Earth as a soldier, a father and a man, something elliptically recognised in Hayslip's lionising of him. Stone's film exemplifies the problems of responding to a text like Hayslip's, complicated by his own status as a combatant in Vietnam.

in Gender and warfare in the twentieth century