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The a-chronology of medieval film

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

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

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

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
A paradox

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
Abstract only
Anatomy of a metaphor

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

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

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

. Disphasure, then, can be a useful term to describe the ways in which film music plays a unique role in films that endeavour to represent the medieval period. Instead of creating dissonant moments between two time periods, music can serve to sever a film’s ties to a specific timeline as well as introduce new multiple timelines into a film. Introit: a brief history of film music in historical

in Medieval film
Linguistic difference and cinematic medievalism

]), 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