Teaching the Middle Ages on Film: Visual Narrative and the Historical Record

@article{Driver2007TeachingTM,
  title={Teaching the Middle Ages on Film: Visual Narrative and the Historical Record},
  author={Martha W. Driver},
  journal={History Compass},
  year={2007},
  volume={5},
  pages={159-174}
}
  • M. Driver
  • Published 2007
  • Sociology
  • History Compass
This article provides an overview of some of the contentious issues concerning the role of film in historical studies of the Middle Ages. Is it appropriate to point out inaccuracies of detail in historical film? As a collective commercial enterprise, is a movie inherently limited in its portrayal of the past, and does this matter? How does film convention affect representation? Can movies err on the side of historical truth? What are the uses of purposeful or intentional anachronism? How have… 
3 Citations
Getting Schmedieval: Of Manuscript and Film Prologues, Paratexts, and Parodies
Abstract This introduction examines how historical effects in cinematic medievalism are produced through analogies between their shared marginal paratexts, including historiated letters, prefaces,
Beowulf in Popular Culture

References

SHOWING 1-10 OF 71 REFERENCES
Slaves on Screen: Film and Historical Vision
The written word and what the eye can see are brought together in this fascinating foray into the depiction of resistance to slavery through the modern medium of film. Davis, whose book "The Return
Visions of the Past: The Challenge of Film to Our Idea of History
Introduction: Personal, Professional, and (a Little) Theoretical PART 1: HISTORY IN IMAGES 1. History in Images / History in Words: Reflections on the Possibility of Really Putting History onto Film
Change Mummified: Cinema, Historicity, Theory
Change Mummified-Philip Rosen 2001 Exploring the modern category of history in relation to film theory, film textuality, and film history, Change Mummified makes a persuasive argument for the
Visions of the Maid: Joan of Arc in American Film and Culture
Representations of Joan of Arc have been used in the United States for the past 200 years, appearing in advertizing, cartoons, popular song, art, criticism and propaganda. The presence of the
Getting Schmedieval: Of Manuscript and Film Prologues, Paratexts, and Parodies
Abstract This introduction examines how historical effects in cinematic medievalism are produced through analogies between their shared marginal paratexts, including historiated letters, prefaces,
A Knight at the Movies: Medieval History on Film
Prologue 1 The Holy Grail of Hollywood: King Arthur Films 2 Lights! Camera! Pillage!: Viking Films 3 God (and the Studio) Wills It!: Crusade Films 4 Splendid in Spandex: Robin Hood Films 5 Welcome to
Arthurian Legends on Film and Television
The Arthurian legends are a crucial part of Western culture and literature. With their enduring themes, archetypal characters, and complex plots, it is not surprising that the stories of Camelot
The Reel Middle Ages: American, Western and Eastern European, Middle Eastern and Asian Films About Medieval Europe
Those tales of old - King Arthur, Robin Hood, The Crusades, Marco Polo, Joan of Arc - have been told and retold, and the tradition of their telling has been gloriously upheld by filmmaking from its
Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences
Abstract This essay explores homologies between the Tapestry and cinema, focusing on the opening title sequences of several films that cite the Bayeux Tapestry, including The Vikings; Robin Hood,
An Interview with David Franzoni
making an entertainment rather than a documentary. The story also ends before the whole tale is told, so I hope for a sequel to round out the whole. However, one thing above all others I believe to
...
1
2
3
4
5
...