Thursday, August 25, 2022
Hughes, Shaun F.D. "Some Thoughts on The Northman (2022)." Arthuriana, vol. 32 no. 2, 2022, p. 89-101. Project MUSE, doi:10.1353/art.2022.0014.
Tuesday, August 23, 2022
Manning, Scott. “Joan of Arc’s Gunpowder Artillery in Cecil B. DeMille’s Joan the Woman (1916).” Film & History, vol. 52, no. 1, Summer 2022, pp. 18-31. Project MUSE, https://muse.jhu.edu/article/862227.
Saturday, June 18, 2022
Coming Soon from Lexington Books:
Dragon's Lair and the Fantasy of Interactivity
M J CLARKE
Pages: 150 • Trim: 6 x 9
978-1-7936-3603-4 • Hardback • July 2022 • $95.00 • (£73.00)
978-1-7936-3604-1 • eBook • June 2022 • $45.00 • (£35.00)
Further details and ordering at https://rowman.com/ISBN/9781793636034/Dragon's-Lair-and-the-Fantasy-of-Interactivity.
Perhaps no arcade game is so nostalgically remembered, yet so critically bemoaned, as Dragon’s Lair. A bit of a technological neanderthal, the game implemented a unique combination of videogame components and home video replay, garnering great popular media and user attention in a moment of contracted economic returns and popularity for the videogame arcade business. But subsequently, writers and critics have cast the game aside as a cautionary tale of bad game design. In Dragon’s Lair and the Fantasy of Interactivity, MJ Clarke revives Dragon’s Lair as a fascinating textual experiment interlaced with powerful industrial strategies, institutional discourse, and textual desires around key notions of interactivity and fantasy. Constructing a multifaceted historical study of the game that considers its design, its makers, its recording medium, and its in-game imagery, Clarke suggests that the more appropriate metaphor for Dragon’s Lair is not that of a neanderthal, but a socio-technical network, infusing and advancing debates about the production and consumption of new screen technologies. Far from being the gaming failure posited by evolutionary-minded lay critics, Clarke argues, Dragon’s Lair offers a fascinating provisional solution to still-unsettled questions about screen media.
Table of Contents:
Chapter 1: Dragon's Lair: The Hardware
Chapter 2: Dragon's Lair: The Business
Chapter 3: Dragon's Lair: The Disc
Chapter 4: Dragon's Lair: The Fantasy
About the Author
MJ Clarke is associate professor in TV, film, and media studies at California State University, Los Angeles.
Friday, June 17, 2022
Shakespeare’s Serial Returns in Complex TV
Authors: Christina Wald
Palgrave Macmillan, 2020
Available in hardcover and as an ebook
Full details at https://link.springer.com/book/10.1007/978-3-030-46851-4
Traces Shakespearean influences on, and engagements in, contemporary TV series
Demonstrates how the serial complexity of current TV shows helps us understand the dramaturgical serialisations in Shakespeare’s plays
Discusses a range of adaptational strategies that range from deliberate rewritings to ‘non-adaptations' (i.e. to unintentional returns of Shakespearean plots, characters, and motifs)
Part of the book series: Reproducing Shakespeare (RESH)
About this book
This book examines how Shakespeare’s plays resurface in current complex TV series. Its four case studies bring together The Tempest and the science fiction-Western Westworld, King Lear and the satirical dynastic drama of Succession, Hamlet and the legal thriller Black Earth Rising, as well as Coriolanus and the political thriller Homeland. The comparative readings ask what new insights the twenty-first-century remediations may grant us into Shakespeare’s texts and, vice versa, how Shakespearean returns help us understand topical concerns negotiated in the series, such as artificial intelligence, the safeguarding of democracy, terrorism, and postcolonial justice. This study also proposes that the dramaturgical seriality typical of complex TV allows insights into the seriality Shakespeare employed in structuring his plays. Discussing a broad spectrum of adaptational constellations and establishing key characteristics of the new adaptational aggregate of serial Shakespeare, it seeks to initiate a dialogue between Shakespeare studies, adaptation studies, and TV studies.
Disney and the Middle Agessource: https://call-for-papers.sas.upenn.edu/cfp/2022/06/06/disney-and-the-middle-ages
deadline for submissions:
July 15, 2022
full name / name of organization:
Christina M. Carlson, Mariah L. Cooper, and Joshua Parks
Call for Papers
Edited Volume on Disney and the Middle Ages
We invite proposals for an edited collection of essays on medievalism in Disney media for Brepols’ new series Reinterpreting the Middle Ages: From Medieval to Neo. The Walt Disney Company's films, theme parks, and merchandise are full of people, places, and things coded as “medieval,” and because Disney's medievalism is often coded as white and Christian, it is especially relevant to medieval studies' ongoing struggle with white supremacy within and outside the field.
We encourage authors to consider the role of the Walt Disney Company in shaping popular perceptions of the Middle Ages, as well as the function of medievalism in Disney’s ideological projects. How does Disney’s medievalist media represent gender, race, religion, disability, and other features of medieval life? What do those representations reveal about modern life as seen and shaped by Disney?
We welcome submissions from a wide variety of disciplines including literary studies, history, religious studies, gender studies, musicology, art history, and film studies. Critical perspectives such as ecocriticism, animal studies, queer theory, critical race studies, disability studies, material culture, and postcolonial theory are also encouraged. In addition, we welcome submissions from non-medievalist scholars with expertise in twentieth- and twenty-first-century media and culture.
Proposals of 300 to 500 words should be submitted by email to firstname.lastname@example.org by Friday July 15, 2022. We aim to notify authors about accepted submissions by September 1, 2022. We have been invited to submit this collection for publication in Brepols’ new series Reinterpreting the Middle Ages: From Medieval to Neo.
Please write to the above email address with any questions, or contact Christina M. Carlson (email@example.com), Mariah Cooper (firstname.lastname@example.org), and/or Joshua Parks (email@example.com).
We look forward to hearing from you.
Last updated June 7, 2022
This CFP has been viewed 19 times.
Sunday, November 28, 2021
CFP Shadow Screens: Unmade, Unseen, Unreleased Film and Television Conference (1/31/2022; Sheffield, UK/Online 5/23-24/2022)
Shadow Screens: Unmade, Unseen, Unreleased Film and Television
deadline for submissions: January 31, 2022
full name / name of organization:
James Fenwick (Sheffield Hallam University) / Kieran Foster (University of Nottingham)
contact email: firstname.lastname@example.org
Two-day international conference, 23rd to 24th May 2022 to be held in person at Sheffield Hallam University, Sheffield, UK and online
Keynotes: To be confirmed
Dr James Fenwick (email@example.com Sheffield Hallam University)
Dr Kieran Foster (Kieran.firstname.lastname@example.org University of Nottingham)
Unmade, unseen, and unreleased films and TV programmes are a burgeoning area of academic study, allowing for the excavation of hidden and lost histories, new insights and perspectives on structural barriers and inequalities in the media industries, and the reframing of the understanding of how the media industries operate. The film and television industries are built on a labour force that has largely worked on projects that were never, and will never, be made, whilst substantial amounts of investment and resource goes towards these unmade projects. The reasons contributing to the unmade are myriad and the industrial scale of these lost projects is staggering. The availability of new archival sources, alongside academic and popular interest, are driving this field of inquiry, which presents opportunities for rethinking film and television history and for the development of counter histories. At the same time, the appeal of ‘lost’ films is furthered by the discovery of unproduced screenplays. As well as books on Kubrick’s Napoleon and The Greatest Movies You’ll Never See, recent years have seen documentary films on ‘lost projects’ such as Lost in La Mancha (2002) and Jodorowsky’s Dune (2013), radio adaptations of unmade films like Welles’s Heart of Darkness, and stage readings of unproduced Hammer horrors such as Vampirella. There are also archives filled with audio-visual footage of outtakes, cuts, and unseen material of films that might have been. Even more tantalising are those archives containing films and television that have been unseen for many decades, lost to time and that have gone unrecorded in official histories.
Building on recent works on this topic, including the collection Shadow Cinema: The Historical and Production Contexts of Unmade Film (2020), this conference proposes to examine the unmade, unseen, and unreleased across the full spectrum of film, television, and other screen industries. How can we make sense of the unmade, unseen, and unreleased? How does it impact on current histories of film and television? What are the counter histories that can be constructed? And what does it reveal about the way the film and television industries operate?
We invite papers for submission on any aspect of unmade, unseen, and unreleased film, television, and other screen media. Suggested topics include, but are by no means limited to:
- Gender / racial inequalities and unmade projects
- Structural barriers and the unmade
- The screenplay process: agents, script readers etc
- The unmade as alternative media history
- Archival approaches to the study of the unmade, unseen, and unreleased
- Case studies of unrealised screenplays
- Development hell
- Methodologies for using unmade screenplays as a resource for scholarly research
- Realisations of unmade projects
- Outtakes and unused footage
- Forgotten and unseen films
- Fandom and unmade projects
- The literary status of unproduced screenplays
- Industrial perspectives
- Creative failure
- Other unmade screen industry projects i.e. videogames
Proposals for twenty-minute presentations to be emailed to Dr James Fenwick: email@example.com and Dr Kieran Foster (firstname.lastname@example.org) with a submission deadline of 31st January 2022. Abstracts should be no more than 250 words and include a 100-word biography.
Dr Kieran Foster, is a teaching associate in film and television at the University of Nottingham. He is the author of the forthcoming monograph Hammer Goes to Hell: The House of Horrors Unmade Films and co-editor of Shadow Cinema (2020) and Studying the Unmade, Unseen, Unreleased: Theories, Methods, Histories (forthcoming, Intellect).
Dr James Fenwick, senior lecturer in Department of Media Arts and Communication at Sheffield Hallam University. Author of Stanley Kubrick Produces (2020) and Unproduction Studies and the American Film Industry (2021) and co-editor of Shadow Cinema (2020) and Studying the Unmade, Unseen, Unreleased: Theories, Methods, Histories (forthcoming, Intellect).
There will be a small delegate fee for attendees.
Standard delegate fee: £35
Postgraduate colleagues: £15
Last updated November 19, 2021
Saturday, September 11, 2021
The Oxford Handbook of Music and MedievalismEdited by Stephen C. Meyer and Kirsten Yri
Draws connections between musical styles and eras
Approaches topics from multiple disciplinary and thematic perspective
Published: 02 March 2020
848 Pages | 86 musical examples; 34 illustrations
6-3/4 x 9-3/4 inches
The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.
Table of Contents
Introduction [Stephen Meyer and Kirsten Yri]
Section 1: Romanticizing the Medieval: The Longing for the Middle Ages in the Nineteenth Century
1. Medievalisms in Early Nineteenth-Century German Thought [Laura K. T. Stokes]
2. From Knight Errant to Family Man: Romantic Medievalism and Domesticity in Brahms's Romanzen aus L. Tieck's Schöne Magelone, op. 33 (1865, 1869) [Marie Sumner Lott]
3. Liszt's Medievalist Modernism [Balázs Mikusi]
4. Soldiers and Censors: Verdi's Medieval Imagination [Liana Püschel]
5. The Distant Past as Mirror and Metaphor:ÂPortraying Medievalism in Historical French Grand Operas [Diana Hallman]
6. Medievalism and Regionalist Identity in Lalo's Le Roi d'Ys [Elinor Olin]
7. Romantic Medievalist Nationalism in Schumann's Genoveva, Then and Now [Michael S. Richardson]
8. The Middle Ages in Richard Wagner's Music Dramas [Barbara Eichner]
Section 2: Performing the Middle Ages
9. Medievalism at the University: Collegia and Choral Societies [Jacob Sagrans]
10. Medieval Folk in the Revivals of David Munrow [Edward Breen]
11. Re-sounding Carl Dreyer's La Passion de Jeanne d'Arc [Donald Greig]
Section 3: Medievalism and Compositional Practice in the Twentieth Century
12. Medievalism and Anti-Romanticism in Carl Orff's Carmina Burana [Kirsten Yri]
13. Past Tense: Creative Medievalism in the Music of Margaret Lucy Wilkins [Lisa Colton]
14. Hucbald's Fifths and Vaughan Williams's Mass: The New Medieval in Britain Between the Wars [Deborah Heckert]
15. The Return of Ars subtilior?: Rhythmic Complexity and Appeal of Codex Chantilly Six Hundred Years Hence [Aleksandra Vojcic]
16. Miserere: Arvo Pärt and the Medieval Present[Laura Dolp]
17. The Postmodern Troubadour [Anne Stone]
Section 4: Reimagining the Medieval Woman
18. Tolling Bells and Otherworldly Voices: Joan of Arc's Sonic World in the Early Twentieth Century [Elizabeth Dister]
19. Medievalism and Rued Langgaard's Romantic Image of Queen Dagmar [Nils Holger-Petersen]
20. Nature, Vision, and Light in Vision-Aus dem Leben der Hildegard von Bingen [Jennifer Bain]
21. Disciplining Guinevere: Courtly Love and the Arthurian Tradition from Henry Purcell to Donovan Leitch [Gillian L. Gower]
Section 5: Echoes of the Middle Ages in Folk, Rock, and Metal
22. Early Music and Popular Music: Medievalism, Nostalgia, and the Beatles [Elizabeth Upton]
23. "Ramble On": Medievalism as Nostalgic Practice in Led Zeppelin's use of J. R. R. Tolkien [Caitlin Carlos]
24. A Gothic Romance: Neomedieval Echoes of Fin'amor in Gothic and Doom Metal [Ross Hagen]
25. Viking Metal [Simon Trafford]
26. Medievalism and Identity Construction in Pagan Folk Music [Scott R. Troyer]
Section 6: Medievalism of the Screen
27. From the Music of the Ainur to the Music of the Voiceover: Sounding Medievalism in The Lord of the Rings [Stephen C. Meyer]
28. Faith, Fear, Silence and Music in Ingmar Bergman's Medieval Vision of The Virgin Spring and The Seventh Seal [Alexis Luko]
29. Hope Against Fate or Fata Morgana? Music and Mythopoiesis in Boorman's Excalibur [David Clem]
30. The Many Musical Medievalisms of Disney [John Haines]
31. Evil Medieval: Chant and the New Dark Spirituality of Vietnam-Era Film in America [James Deaville]
32. Fantasy Medievalism and Screen Media[James Cook]
33. Gaming the Medievalist World in Harry Potter [Karen M. Cook]
Stephen C. Meyer is Professor of Musicology at the University of Cincinnati's College-Conservatory of Music. He is the author of Carl Maria von Weber and the Search for a German Opera (2003) and Epic Sound: Music in Postwar Hollywood Biblical Films (2015) as well as numerous articles on topics ranging from nineteenth-century German opera to film music to the history of recorded sound. He is editor of Music in Epic Film: Listening to Spectacle (2016), and from 2014 to 2018 he served as the Editor-in-Chief for the Journal of Music History Pedagogy.
Kirsten Yri is Associate Professor of Musicology at the Faculty of Music at Wilfrid Laurier University in Canada. She has published widely on the role of the early music revival and the intersections between music and medievalism in American Music, Intersections, Early Music, and Women and Music. Her work on medievalism and rock music (Dead Can Dance, Black Sabbath, and Corvus Corax) has been published in Current Musicology, Popular Music, and Postmedieval. Her recent research examines parody, gender, and social programs in Carl Orff's Trionfi against a context of German contemporary literary and philosophical debates.
Jennifer Bain, Professor of Music, Dalhousie University
Edward Breen, Coordinator of the Music Department, The City Literary Institute, London
Caitlin Vaughn Carlos, Adjunct Faculty, Chapman University
David Clem, Instructor of Music History, Greatbatch School of Music, Houghton College
Lisa Colton, Reader in Musicology, University of Huddersfield
James Cook, Lecturer in Early Music, University of Edinburgh
Karen M. Cook, Assistant Professor of Music History, The Hartt School of the University of Hartford
James Deaville, Professor, School for Studies in Art & Culture: Music at Carleton University
Elizabeth Dister, Webster University Faculty Development Center
Laura Dolp, Associate Professor, Montclair State University
Barbara Eichner, Senior Lecturer in Music, Oxford Brookes University
Gillian L. Gower, Visiting Assistant Professor of Musicology, Southern Methodist University
Donald Greig, Founding Member, The Orlando Consort
Ross Hagen, Assistant Professor of Music Studies, Utah Valley University
John Haines, Professor of Music and Medieval Studies, University of Toronto
Diana R. Hallman, Associate Professor, University of Kentucky
Deborah Heckert, Department of Music, Stony Brook University
Alexis Luko, Associate Professor of Music, School for Studies in Art & Culture and the College of the Humanities at Carleton University
Stephen Meyer, Professor of Musicology, College-Conservatory of Music of the University of Cincinnati
Balázs Mikusi, Head of Music, National Széchényi Library in Budapest since 2009
Elinor Olin, Music History Faculty, Northern Illinois University
Nils Holger Petersen, Associate Professor emeritus of Church History, University of Copenhagen
Liana Püschel, Teaching Assistant of Musicology, Università degli studi di Torino, Humanities Faculty
Michael S. Richardson, Assistant Professor of Musicology, University of St. Thomas
Jacob Sagrans, Independent Scholar, Editor, Administrator, and Choral Performer
Laura K. T. Stokes, Performing Arts Librarian and Visiting Lecturer in Music, Brown University
Anne Stone, Associate Professor of Musicology, Graduate Center of the City University of New York
Marie Sumner Lott, Associate Professor of Music History, Georgia State University in Atlanta
Simon Trafford, Lecturer in Medieval History, Institute of Historical Research, University of London
Scott R. Troyer, Ph.D. candidate, University of Cincinnati College-Conservatory of Music
Elizabeth Randell Upton, Associate Professor of Musicology, UCLA
Aleksandra Vojcic, Associate Professor of Music Theory, The University of Michigan
Kirsten Yri, Associate Professor of Musicology, Wilfrid Laurier University
Saturday, July 17, 2021
Out now in paperback. Definitely worth a look.
From Medievalism to Early-Modernism: Adapting the English Past
Edited by Marina Gerzic and Aidan Norrie
Copyright Year 2019
Paperback ISBN 9780367664725
Published September 30, 2020 by Routledge
Available at https://www.routledge.com/From-Medievalism-to-Early-Modernism-Adapting-the-English-Past/Gerzic-Norrie/p/book/9780367664725.
From Medievalism to Early-Modernism: Adapting the English Past is a collection of essays that both analyses the historical and cultural medieval and early modern past, and engages with the medievalism and early-modernism—a new term introduced in this collection—present in contemporary popular culture. By focusing on often overlooked uses of the past in contemporary culture—such as the allusions to John Webster’s The Duchess of Malfi (1623) in J.K. Rowling’s Harry Potter books, and the impact of intertextual references and internet fandom on the BBC’s The Hollow Crown: The Wars of the Roses—the contributors illustrate how cinematic, televisual, artistic, and literary depictions of the historical and cultural past not only re-purpose the past in varying ways, but also build on a history of adaptations that audiences have come to know and expect. From Medievalism to Early-Modernism: Adapting the English Past analyses the way that the medieval and early modern periods are used in modern adaptations, and how these adaptations both reflect contemporary concerns, and engage with a history of intertextuality and intervisuality.
Table of Contents
List of Figures
Notes on Contributors
1. Introduction: Medievalism and Early-Modernism in Adaptations of the English Past
Marina Gerzic and Aidan Norrie
Section I: Cultural Medievalism and Early-Modernism
2. Wonder Woman and the Nine Ladies Worthy: The Male Gaze and what it takes to be a ‘Worthy Woman’
Simone Celine Marshall
3. The King, the Sword, and the Stone: The Recent Afterlives of King Arthur
4. Brand Chaucer: The Poet and the Nation
5. Moving between Life and Death: Horror films and the Medieval Walking Corpse
6. From Cabaret to Gladiator: Refiguring Masculinity in Julie Taymor’s Titus
7. "There’s My Exchange": The Hogarth Shakespeare
Sheila T. Cavanagh
8. Bloody Brothers and Suffering Sisters: The Duchess of Malfi and Harry Potter
Section II: Historical Medievalism and Early-Modernism
9. Playing in a Virtual Medieval World: Video Game Adaptations of England through Role-play
10. "I can piss on Calais from Dover": Adaptation and Medievalism in Graphic Novel Depictions of the Hundred Years’ War (1337–1453)
Iain A. MacInnes
11. Beyond "tits and dragons": Medievalism, Medieval History, and Perceptions in Game of Thrones
Hilary Jane Locke
12. Re-fashioning Richard III: Intertextuality, Fandom, and the (Mobile) Body in The Hollow Crown: The Wars of the Roses
13. The Many Afterlives of Elizabeth Barton
14. The Queen, the Bishop, the Virgin, and the Cross: Catholicism versus Protestantism in Elizabeth
15. "Unseen but very evident": Ghosts, Hauntings, and the Civil War Past
Marina Gerzic works for the Centre for Medieval and Early Modern Studies at The University of Western Australia, in both research and administrative roles. She also works as the Executive Administrator for the Australian and New Zealand Association for Medieval and Early Modern Studies, and as the editorial assistant for the academic journal Parergon. She has published articles on film and adaptation theory, Shakespeare, pedagogy, cinematic music, cultural studies, science fiction, comics and graphic novels, and children’s literature.
Aidan Norrie is a historian of monarchy, and is currently a Chancellor’s International Scholar in the Centre for the Study of the Renaissance at The University of Warwick. He is the editor, with Lisa Hopkins, of Women on the Edge in Early Modern Europe (Amsterdam University Press); and, with Mark Houlahan, of On the Edge of Early Modern English Drama (MIP University Press).
Saturday, June 26, 2021
The Knights Templar in Popular Culture: Films, Video Games and Fan Tourism
Not Yet Published
Available for pre-order at $39.95
Format: softcover (6 x 9)
Bibliographic Info: appendix, bibliography, index
Copyright Date: 2021
Patrick Masters has published writings on the Knights Templar in The Conversation and The Independent. He lives in the UK.
Wednesday, May 5, 2021
Wednesday, March 24, 2021
Medievalisms on the Screen: The Representation of the Middle Ages in Audiovisual Media in the 21st Century
Call for Papers!: Medievalism on the Screen: The representation of the Middle Ages in Audiovisual Media in the 21st century
Announcement published by Juan Rubio on Wednesday, December 2, 2020
Type: Call for Papers
Date: February 1, 2021 to May 3, 2021
Medievalisms on the Screen.
The representation of the Middle Ages in Audiovisual Media in the 21st century (April 29th-May 1st 2021)
PhD Conference, Department of Medieval Studies
Central European University, Budapest/Vienna
The technological advancements in audiovisual production that have taken place in the first two decades of the 21st century have accentuated the multiple representations of the Middle Ages in popular media. The explosion of the videogame industry, the refinement in digital technologies for the recreation of past spaces, and the popularization of streaming services like YouTube and Netflix have all allowed for an increase in the venues for the representation of the medieval past. Be it the crusaders of Assassin’s Creed (2007) or the Scandinavian world of Vikings (2013-2020); from the fantasy universe of Game of Thrones (2011-2019) or bands like Rhapsody of Fire, to the hack-n-slash hell of Dante’s Inferno (2011), it is a non-academic version of the past which is more familiar to the general public.
The way in which media affects our perceptions of the past have real-world ramifications. A specific distorted version of the Middle Ages has served as fuel for acts of violence and the rise of authoritarian, xenophobic and racist political agendas. Interestingly, this is a process that has gotten outside of traditional “medieval” scenarios into a more global arena: the 2015 Indian film Padmaavati exacerbated Hindu-Muslim relations in some regions of the sub-continent, further highlighting the relation between media and politics regarding the representation of the past.
The purpose of this PhD interdisciplinary conference is to explore the characteristics and implications of calling an audiovisual product “medieval” in the 21st century. From products that purposely undermine their own historicity like A Knight’s Tale (2001), to those that rely on “accuracy” as part of their advertisement as in the case of videogames; from “European-based” productions like Dark Souls, to Netflix’s Kingdom (2019) set in Korea or Team Ninja’s Nioh (2017) set in Japan, we invite contributions from every area of knowledge relevant to this discussion.
Topics might include, but are not limited to:
- Periodization and setting
- Gender relations in medieval productions
- Middle ages and pedagogy
- (Sub)conscious political implications
- Middle-ages and fantasy
- Rock music and the middle ages
- Accuracy vs. authenticity
- Global middle ages in popular media
- Media and national identity
- Production, screenwriting and representation
- Gameplay mechanics, coding and procedural rhetoric
- LARPERS and the middle ages
- Museums, memory and cultural institutions
Paper proposals, no longer than 400 words in length for a paper between 25 to 30 minutes, should be sent to the organizers (e-mail account) no later than February 1st, 2021. The full slate of selected papers will be announced within two weeks after the submission deadline.
Juan Manuel Rubio Arévalo: PhD candidate in Medieval Studies, Central European University, Austria/Vienna: https://medievalstudies.ceu.edu/people/juan-manuel-rubio-arevalo
Karolina Anna Kotus: PhD candidate in Medieval Studies, Central European University, Austria/Vienna: https://medievalstudies.ceu.edu/people/karolina-anna-kotus
Juan Bautista Juan López:PhD candidate in Medieval Studies, Central European University, Austria/Vienna: https://medievalstudies.ceu.edu/people/juan-bautista-juan-lopez
Contact Email: email@example.com
Monday, March 15, 2021
DEADLINE EXTENDED: Shakespeare on Television: Seminar at the WSC 2021 (online)Source: https://call-for-papers.sas.upenn.edu/cfp/2021/03/12/deadline-extended-shakespeare-on-television-seminar-at-the-wsc-2021-online
deadline for submissions:
April 1, 2021
full name / name of organization:
World Shakespeare Congress, Singapore
We hereby welcome contributions to the seminar “Shakespeare on Television” for the 11th World Shakespeare Congress: Shakespeare Circuits (Singapore, 18-24 July 2021), to be held online.
If you are interested, please send a short abstract between 100 and 300 words and your short bio by April 1, 2021 to the listed email address and enrol for our seminar by making it your first choice on the form on the conference website (http://22.214.171.124:9090/wsc2021/Seminars.html#form-tag).
26. Shakespeare on Television
Convenors: Victor Huertas MARTIN (University of Valencia, Spain) and Reto WINCKLER (South China Normal University, China)
The reception history of Shakespeare’s works is mirrored in the trajectory of television series as a form of popular entertainment that has come to be appreciated as high culture. At both levels, Shakespeare is frequently alluded to, parodied, ransacked for characters and motifs, and emulated wholesale. This seminar welcomes theoretical papers and case studies that revise Shakespeare studies to bear on the analysis and interpretation of Shakespeare-inflected television serials; account for the proliferation of Shakespearean memes, echoes, allusions, citations, narrative structures, and references in contemporary television series; define adaptation practices in serial Shakespeares; discuss serial Shakespeares around the globe; undertake critical theory and cultural studies approaches to Shakespeare and television series; address gender, race, and class in serial Shakespeares; critically assess analogies between Shakespeare and television series; analyse the impact of television serials on contemporary Shakespeare performance; evaluate presentist approaches to Shakespeare and television; and more.
Last updated March 15, 2021
Monday, February 1, 2021
I finally picked up a copy of this intriguing collection.
It's the Disney Version!: Popular Cinema and Literary Classics
Edited by Douglas Brode and Shea T. Brode
In It’s the Disney Version!: Popular Cinema and Literary Classics, Douglas Brode and Shea T. Brode have collected essays that consider the relationship between a Disney film and the source material from which it was drawn. Analytic yet accessible, these essays provide a wide-ranging study of the term “The Disney Version” and what it conveys to viewers. Among the works discussed in this volume are Alice in Wonderland, Mary Poppins, Pinocchio,Sleeping Beauty, Tarzan, and Winnie the Pooh.
In these intriguing essays, contributors to this volume offer close textual analyses of both the original work and of the Disney counterpart. Featuring articles that consider both positive and negative elements that can be found in the studio’s output, It’s the Disney Version!: Popular Cinema and Literary Classics will be of interest to scholars and students of film, as well as the diehard Disney fan.
"And they lived happily ever after?": Disney's animated adaptation of Snow White and the seven dwarfs (1937) and Fleischers' Gulliver's travels / David McGowan --
Marionette as metaphor: Pinocchio and evolving attitudes toward education / Jean-Marie Apostolides --
Here be gay dragons: queer allegory and Disney's The reluctant dragon / Tison Pugh --
Uncle Walt's Uncle Remus: Disney's distortion of Harris's hero / Peggy A. Russo --
"Glory in the flower": Disneyfying Bambi / David Payne --
Through the cinematic looking glass: Walt Disney's 1951 animated Alice and Tim Burton's 2010 film / Sarah Boslaugh --
Walt Disney and Robert Louis Stevenson: Haskin's Treasure island or Stevenson's Kidnapped? / Scott Allen Nollen --
Of medieval ballads and movie musicals: Walt Disney and the Robin Hood legend / Shea T. Brode with Douglas Brode --
"Do you believe in fairies?": Peter Pan, Walt Disney, and me / Elizabeth Bell --
"In God's good time": Walt Disney and 1950s Cold War culture / Cynthia J. Miller and A. Bowdoin Van Riper --
Perchance to dream: a narrative analysis of Disney's Sleeping beauty / Alexis Finnerty with Douglas Brode --
"It's a jungle out there, kid!": Walt Disney and the American 1960s / Greg Metcalf --
"Higitus! figitus!": of Merlin and Disney magic / Susan Aronstein --
"This is not the Mary Poppins I know!": P.L. Travers goes to Hollywood / David S. and Olga Silverman --
The wonderful worlds of Dickens and Disney: animated adaptations of Oliver Twist and A Christmas carol / Shari Hodges Holt --
The tao at Pooh corner: Disney's portrayal of a very philosophical bear / Anne Collins Smith and Owen M. Smith --
From icon to Disneyfication: a mermaid's aesthetic journey / Finn Hauberg Mortensen --
Pocahontas as Disney princess: history, legend, literature, and movie mythology / Kathy Merlock Jackson and Gary Edgerton --
"Driven to sin": Victor Hugo's complex vision of humanity in Disney's The hunchback of Notre Dame / Michael Smith --
The integrity of an ape-man: Burroughs, Disney, and the meaning of the Tarzan myth / Stanley A. Galloway.
Tuesday, August 18, 2020
new MLA volume on teaching the Divine Comedy turned up the following items of interest: