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The a-chronology of medieval film
Bettina Bildhauer and Anke Bernau

filmic techniques they frequently show, for instance, anachronisms, time stoppages, time travel and cyclical time. In this introduction we will trace the special relationship to temporality that characterises medieval film to its roots in the overlap of medievalism, film history and film theory. Though frequently not taken seriously by film scholars or medievalists, medieval films are pivotal in challenging both

in Medieval film
Timing The Birth of a Nation
Anke Bernau

allegory’ also claimed to be setting the historical record straight, to be teaching Americans their own history. It did this by drawing on a conjunction of contemporary ideas concerning nation, history and race, all of which, I argue, participated in popular and academic constructions of the medieval. 4 Griffith’s film, based on two novels by the popular preacher and author Thomas Dixon, is divided into two

in Medieval film
Marcia Landy

light on how the texts bind the medieval past to a contemporary present and illuminate connections among cinematic forms, spectatorship, social history and the national imaginary. In thinking about history on film, I am aware of Philip Rosen’s observation that no modern historicity – not even the most careful

in Medieval film
Rosalie David

Ancient medical and healing systems are currently attracting considerable interest. This issue includes interdisciplinary studies which focus on new perceptions of some ancient and medieval medical systems, exploring how they related to each other, and assessing their contribution to modern society. It is shown that pre-Greek medicine included some rational elements, and that Egyptian and Babylonian medical systems contributed to a tradition which led from classical antiquity through the Middle Ages and beyond. The reliability of sources of evidence is considered, as well as the legacy of the ancient healing environments (temples and healing sanctuaries) and disease treatments (including surgical procedures and pharmaceutical preparations). Finally, where documentation survives, the legacy of social attitudes to health and disease is considered. Overarching principles directed policies of social medicine and healthcare in antiquity and the Middle Ages: for example, the causes and transmission routes of infectious diseases, as well as the basic principles of sterilization, were unknown, but nevertheless attempts were made to improve sanitation, provide clean water, and ensure access to trained physicians. In some cases, the need to limit the size of the population prompted the use of contraceptive measures, and surviving information also illuminates attitudes to deformity, disability and the treatment of the terminally ill.

Bulletin of the John Rylands Library
Dale Townshend

This article seeks to provide an account of the political biases at stake in the conceptualisation of medieval English history in Ethelwina, Or The House of Fitz-Auburne (1799), the first fiction of the prolific Gothic romancer-turned-Royal Body Guard T. J. Horsley, Curties. Having considered Curties‘s portrayal of the reign of King Edward III in the narrative in relation to formal historiographies of the period, the article turns to address the politics of Curties‘s appropriation of Shakespeare‘s Hamlet.

Gothic Studies
Clare A. Lees

This article explores the contributions of women scholars, writers and artists to our understanding of the medieval past. Beginning with a contemporary artists book by Liz Mathews that draws on one of Boethius‘s Latin lyrics from the Consolation of Philosophy as translated by Helen Waddell, it traces a network of medieval women scholars of the nineteenth and twentieth centuries associated with Manchester and the John Rylands Library, such as Alice Margaret Cooke and Mary Bateson. It concludes by examining the translation of the Old English poem, The Wife‘s Lament, by contemporary poet, Eavan Boland. The art of Liz Mathews and poetry of Eavan Boland and the scholarship of women like Alice Cooke, Mary Bateson, Helen Waddell and Eileen Power show that women‘s writing of the past – creative, public, scholarly – forms a strand of an archive of women‘s history that is still being put together.

Bulletin of the John Rylands Library
A paradox
Sarah Salih

medievalism regularly generate further lists: the four cinematic approaches to the period analysed by David John Williams; Valerie Lagorio’s seven modes of modern Arthurianism; Arthur Lindley’s five functions of the medieval. 15 The Middle Ages are, indeed, extremely multiple: the term can cover a millennium of European and near-Eastern history as well as several fantasy domains. If the same period can be

in Medieval film
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Anatomy of a metaphor
John M. Ganim

of a pulp magazine cover. Andrew Dickos in Street With No Name: A History of the Classic American Film Noir modifies the analogy when he distinguishes the chivalric hero from the American detective, for ‘these private eyes maintain a code of personal honour, but it is less proscriptive and judgmental than is usually held to be the case, not like the medieval Christian heroes’. 22 The analogy

in Medieval film
Andrew Higson

boundaries between different historical periods, but on the other hand that there is something specific about the way the premodern past is represented as dangerous and dirty. This specificity, I would argue, owes as much to generic convention and the audience address of the films as it does to histories of the Middle Ages. I will compare representations of the medieval with representations of the more

in Medieval film
Film theory’s foundation in medievalism
Bettina Bildhauer

pedigree in philosophy, sociology and art history, among them Béla Balázs, Walter Benjamin, Siegfried Kracauer and Erwin Panofsky. They all enthusiastically elaborated on the link (or contrast) between film and the Middle Ages. 1 The central idea of early film studies – that (silent) film is a purely visual medium that opens up a new way of seeing – was based on the analogous assumption of medieval art as

in Medieval film