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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: j.fenwick@shu.ac.uk

source: https://call-for-papers.sas.upenn.edu/cfp/2021/11/18/shadow-screens-unmade-unseen-unreleased-film-and-television

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

Convenors:

Dr James Fenwick (j.fenwick@shu.ac.uk Sheffield Hallam University)

Dr Kieran Foster (Kieran.foster@nottingham.ac.uk 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: j.fenwick@shu.ac.uk and Dr Kieran Foster (kieran.foster@nottingham.ac.uk) with a submission deadline of 31st January 2022. Abstracts should be no more than 250 words and include a 100-word biography.

Convenor biographies:

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

Now in paperback: From Medievalism to Early-Modernism

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
284 Pages 

Available at https://www.routledge.com/From-Medievalism-to-Early-Modernism-Adapting-the-English-Past/Gerzic-Norrie/p/book/9780367664725.



Book Description

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



Acknowledgements

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

Sarah Gordon



4. Brand Chaucer: The Poet and the Nation

Martin Laidlaw



5. Moving between Life and Death: Horror films and the Medieval Walking Corpse

Polina Ignatova



6. From Cabaret to Gladiator: Refiguring Masculinity in Julie Taymor’s Titus

Marina Gerzic



7. "There’s My Exchange": The Hogarth Shakespeare

Sheila T. Cavanagh



8. Bloody Brothers and Suffering Sisters: The Duchess of Malfi and Harry Potter

Lisa Hopkins





Section II: Historical Medievalism and Early-Modernism

9. Playing in a Virtual Medieval World: Video Game Adaptations of England through Role-play

Ben Redder



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

Marina Gerzic



13. The Many Afterlives of Elizabeth Barton

Annie Blachly



14. The Queen, the Bishop, the Virgin, and the Cross: Catholicism versus Protestantism in Elizabeth

Aidan Norrie



15. "Unseen but very evident": Ghosts, Hauntings, and the Civil War Past

Michael Durrant



Index




Editor(s) Biography


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).

CFP Sound of the Past (Spec Issue of J of Historical Fiction) (1/1/2020)

This seems of potential relevance:

CfP: The Sound of the Past
https://call-for-papers.sas.upenn.edu/cfp/2019/09/20/cfp-the-sound-of-the-past

deadline for submissions: January 1, 2020

full name / name of organization: Journal of Historical Fictions

contact email: mail@historicalfictionsjournal.org


CfP: The Sound of the Past

What is the role of sound in historical fictions? How can we try to replicate what the world sounded like in the past? What is the role of music in period dramas? Why are contemporary musicals with historical settings so popular? How can sound be described in historical novels?

The Journal of Historical Fictions is looking for papers on any aspect of “sound”, broadly defined (music, mechanical sounds, songs that tell a historical narrative, voices, etc.) for a special issue on sound in historical fictions, ‘The Sound of the Past’. Please send completed articles of 6,000-8,000 words to mail@historicalfictionsjournal.org by 1 January 2020 (see our submission guidelines here: http://historicalfictionsjournal.org/submit.html).

We also have a rolling deadline for articles that relate directly to research and teaching questions on historical fictions of any kind, from all scholarly disciplines, and we welcome spontaneous submissions.

 ****************



Dr Juliette Harrisson
Editor
Journal of Historical Fictions

 Follow us on Twitter @JournalHistFics


Last updated September 23, 2019
This CFP has been viewed 409 times.

Now in Paperback: Middle Ages in Popular Imagination: Memory, Film and Medievalism

Out now from new publisher Bloomsbury in a more affordable paperback edition:

The Middle Ages in Popular Imagination: Memory, Film and Medievalism
https://www.bloomsbury.com/us/the-middle-ages-in-popular-imagination-9781350124905/

By: Paul B. Sturtevant

Published: 08-22-2019
Format: Paperback
Edition: 1st
Extent: 320
ISBN: 9781350124905
Imprint: Bloomsbury Academic
Series: New Directions in Medieval Studies
Illustrations: 20 bw illus
Dimensions: 5 1/2" x 8 1/2"
List price: $39.95


About The Middle Ages in Popular Imagination

It is often assumed that those outside of academia know very little about the Middle Ages. But the truth is not so simple. Non-specialists in fact learn a great deal from the myriad medievalisms - post-medieval imaginings of the medieval world - that pervade our everyday culture. These, like Lord of the Rings or Game of Thrones, offer compelling, if not necessarily accurate, visions of the medieval world. And more, they have an impact on the popular imagination, particularly since there are new medievalisms constantly being developed, synthesised and remade.

But what does the public really know? How do the conflicting medievalisms they consume contribute to their knowledge? And why is this important?

In this book, the first evidence-based exploration of the wider public's understanding of the Middle Ages, Paul B. Sturtevant adapts sociological methods to answer these important questions. Based on extensive focus groups, the book details the ways - both formal and informal - that people learn about the medieval past and the many other ways that this informs, and even distorts, our present. In the process, Sturtevant also sheds light, in more general terms, onto the ways non-specialists learn about the past, and why understanding this is so important. The Middle Ages in Popular Imagination will be of interest to anyone working on medieval studies, medievalism, memory studies, medieval film studies, informal learning or public history.


Table of contents
Chapter 1: The Public Understanding of the Past
Chapter 2: The Medieval Film
Chapter 3: Learning History from Film
Chapter 4: Their Medieval-Middle Ages
Chapter 5: The Middle Ages They Viewed
Chapter 6: The Medieval Worlds They Found
Chapter 7: Conclusions

Nicolas Flamel on Screen

The recent film Fantastic Beasts: The Crimes of Grindelwald (2018) continues to develop the Wizarding World of J. K. Rowling and marks the first full appearance of Dumbledore’s associate, Nicolas Flamel. The character is based on a historical figure (c. 1340-1418) and first referenced in Harry Potter and the Philosopher’s Stone in 1997. In the film, Flamel is a wizard-alchemist living in Paris, six-hundred years old, and semi-retired but, as the climax of the film reveals, still capable of powerful magic.

Flamel features briefly in the following trailer for the film at 1:09, and the climax is very quickly teased at 1:52 :

CFP Doing Women’s Film and Television History V: Forming Histories/Histories in Formation (10/11/19; Ireland 5/20-22/2020)

Of potential interest:

Doing Women's Film & Television History 5

Discussion published by Elif Sendur on Thursday, July 25, 2019  

https://networks.h-net.org/node/14467/discussions/4352586/doing-womens-film-television-history-5

Doing Women’s Film and Television History V: Forming Histories/Histories in Formation

 

20th-22nd May, 2020, Maynooth University, Maynooth, Co. Kildare, Ireland

Keynote: Kasandra O’Connell, Irish Film Archive

 The fifth biennial Doing Women’s Film & Television History conference invites proposals from researchers and practitioners engaged in the exploration, uncovering, archiving and dissemination of women’s roles in film and television, as well as wider media, both in the past and today. The theme of this conference - ‘Forming Histories/ Histories in Formation’ – aims to foreground issues pertaining to the production, curation and archiving of women’s histories in film and television as well as the methods for, and approaches to, producing and shaping these histories as they form. More particularly, much can be learned from the diversity of practices, experiences and narratives of women’s film and television history as they pertain to:  national, transnational, world and global histories; neglected, peripheral or hidden histories; organisations such as museums, archives and universities; collectives, groups and movements such as #MeToo; local communities and community media; emergent forms and platforms; and historical approaches to women’s reception of film and television as well as historicising current practices and experiences of reception, fandom and consumption.

This three-day conference casts the net wide so that it can capture a range of experiences, practices, industries, nationalities and voices that are situated in relation to women and their histories. The conference provides a platform for those working in and researching film, television and media more generally as well as those invested in the production of these histories and narratives of the past and as they materialise. 

We invite papers that can provide added richness to the theme of ‘Women in Film & Television,’ and are, in addition, especially interested in the following areas:

• International and comparative perspectives on women in film and television
• Histories of women’s creative practice, production and technical work and film/cinema and television work more generally in various national, regional, or local contexts; transnational film and television; migration and diasporas
• Approaches to histories of women’s indigenous production, including Third Cinema and grassroots film and television production
• Representations of women in historical film and television
• Female audiences, reception, fandom of film and television
• Considerations of methodological and theoretical approaches to the study of women in film and television and their audiences
• Archival research methods and approaches including feminist archiving practices
• Use of recently established or historically neglected women’s media archives
• Artefacts and ephemera in women’s archives: moving image, photographic and digital media, scripts, merchandise, etc. 
• Considerations of how gender intersects with race, class, ethnicity, in relation to film and television production, reception or representation
• Revisiting production and labour through the lens of #MeToo and #TimesUp, including historical formations of, and historicising, such movements
• Changing meanings of women and womanhood as reflected and shaped by the interventions of women in film and television as producers, critics, and campaigners.
• Teaching women’s film and television history; feminist pedagogies; the politics of education and training; women’s experiences of moving from education to employment in film and television

We welcome papers on subjects outside of these areas and that enhance the interpretations and meanings of ‘Doing Women’s Film & Television History.’

Please submit proposals of 250 words along with the paper’s title and a 50-word biography. Presentations should be no longer than 20 minutes, including clips and images. We welcome pre-constituted panels of three to four presenters (with panel title and abstract of 150 words), proposals for roundtables or workshops and presentations from researchers, practitioners, creatives and industry professionals. Deadline for proposals Oct 11th 2019. Email: dwfthv@gmail.com

We are pleased to make available a number of bursaries for Irish and international postgraduate students, early career researchers (within one-year of permanent contract) and those on part-time or zero-hour contracts. These will help support travel and accommodation to the conference. In order to apply, please submit to dwfthv@gmail.com a 250-word abstract along with a 300-word statement that includes: an indication of the relevance of your paper to the conference themes; reference to the intended output of the research; details of your current employment/student status. The deadline is Oct 11th 2019 and please use “Bursary application” in the subject line.

Hosted by

Department of Media Studies, Maynooth University

Women’s Film and Television History Network- UK/Ire

Organising and programming committee

Mary Immaculate College, Limerick

Maynooth University

Queen’s University Belfast

University College Cork

University College Dublin

CFP Audiences and Paratexts (Issue of Cinephile) (9/15/19)

Of potential interest:

CINEPHILE 14.1 "AUDIENCES AND PARATEXTS"
Elif Sendur's picture Discussion published by Elif Sendur on Thursday, July 25, 2019  0 Replies
CINEPHILE 14.1 | AUDIENCES AND PARATEXTS | CFP

 https://networks.h-net.org/node/14467/discussions/4352585/cinephile-141-audiences-and-paratexts

Deadline for draft submissions: September 15th, 2019


Following popular application of Gérard Genette’s literary term “paratexts” to film, paratexts here signifies those peripheral items emerging from and encircling a primary (filmic) text. Critically, film paratexts mediate the relationship between audience and film by shaping reputations, expectations and adding meaning to its consumption. While traditional examples of film paratexts range from movie reviews to advertisements and promotional material, digital and cultural shifts have driven new iterations, shaping modern cinematic reception and engagement. This evolving influence of paratexts on film culture and consumption demands attention, aligning with calls for media literacy in response to this proliferation of technology.


Cinephile 14.1 aims to interrogate this shifting landscape by considering digital, cultural, or historical forces mediating film reception and film culture more generally. While audience and reception studies have flourished in recent decades (Janet Staiger; Barbara Klinger; Linda Williams) and paratextual analysis has rigorously investigated fanfictions and trailers (Henry Jenkins; Jonathan Gray; Chuck Tryon; Keith M. Johnston), analysis of the interrelation of paratexts and audiences in today’s technological landscape requires further investigation.


Cinephile 14.1: Audiences and Paratexts invites scholarship that thoughtfully expands beyond the screened object to consider the meaning and meaning-making roles of contextual and paratextual factors. Special preference will be given to papers discussing film, television, and motion picture media. Possible topics can include (but are not limited to) any of the following:


– Film reception and audience studies

– Internet film cultures: blogging, social media, etc.

– Streaming sites (Netflix, Amazon Prime, Mubi, Hulu, etc.), film culture and audience behaviours

– Technology and film-watching; interactive cinema, virtual reality, 4DX, Dolby Atmos, etc.

– Film promotion: advertisements, trailers and branding

– Cultural differences in film promotion, consumption, reception

– Fandom; fan-fiction, cosplay, fan content

– Reputation and reception; movie reviews, public discourse

– Marketing, endorsements and product placements as film promotion



We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2,000-3,500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author. Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA and general inquiries toward INFO@CINEPHILE.CA.



Submissions are due by September 15, 2019.



—

Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. Previous issues have featured original essays by such noted scholars as Lee Edelman, Slavoj Žižek, Paul Wells, Murray Pomerance, Ivone Marguiles, Matt Hills, Barry Keith Grant, K.J. Donnelly, and Sarah Kozloff. Since 2009, the journal has adopted a blind review process and has moved to annual publication. It is available both online and in print via subscription and selected retailers.


Incoming editor: Jemma Dash



http://cinephile.ca/

Tally on Tolkien on Screen

Recently published:

Tally, Robert T. “Three Rings for the Elven-kings: Trilogizing Tolkien in Print and Film.” Mythlore: A Journal of J. R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature, Vol. 36, No. 1, Fall/Winter 2017, 175-90.

The issue is available for purchase at http://www.mythsoc.org/mythlore/mythlore-131.htm.

New Book: Medieval Saints and Modern Screens

Sorry to have missed this earlier. 


Medieval Saints and Modern Screens: Divine Visions as Cinematic Experience
https://www.aup.nl/en/book/9789462982277/medieval-saints-and-modern-screens
Alicia Spencer-Hall (see a blog post by the author about the book at http://www.medievalshewrote.com/blog/2017/12/1/my-book-medieval-saints-and-modern-screens-out-now)

Series: Knowledge Communities
Price: € 95,00
ISBN: 9789462982277
Binding: Hardback
Number of pages: 304
Publication date: 01 - 12 - 2017

Preview: Download introduction and ToC
Also available as: eBook PDF - € 94,99





This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.


Author

Alicia Spencer-Hall is an Honorary Research Fellow in the School of Language, Linguistics and Film at Queen Mary, University of London. Her research interests focus on the potentiality of trans-historical critical engagement with literature of the Middle Ages.

Coming Soon: Medieval Art and the Look of Silent Film

Due out this fall from McFarland. I'll update when more details are available.


Medieval Art and the Look of Silent Film:The Influence on Costume and Set Design
https://mcfarlandbooks.com/product/medieval-art-and-the-look-of-silent-film/
Lora Ann Sigler

Format: softcover (7 x 10)
Bibliographic Info: ca. 120 photos, appendices, glossary, notes, bibliography, index
Copyright Date: 2018
pISBN: 978-1-4766-7352-3
eISBN: 978-1-4766-3441-8
Imprint: McFarland
Not Yet Published
$55.00
SUMMER-FALL 2018


Blurb from Amazon (https://www.amazon.com/Medieval-Art-Look-Silent-Film/dp/1476673527/):

The heyday of Silent Film, so beloved by film buffs, was an era that became instantly quaint with the arrival of “Talkies.” As early as 1929, critics and film historians were writing of the period as though of the distant past. Since then, a torrent of books has been released, many of which mention art—in the main, asking whether film could be art— others discussing the splendor of the sets, the persuasion of the ambiance, or the psychological depth of the scenario. What these authors seem to have overlooked is the work of the costume and set designers to provide the background which profoundly affects all of the above. Most especially, they failed to examine the source of the inspiration on those who created that background. To fill this apparent gap, the premise of this volume— costume and set design in the silent film— concentrates on what is arguably the most prevailing influence on both, the presumed nobility of the Middle Ages. Largely owing to the psychological upset of World War I, although beginning earlier, society was in a state of flux. Women, who had been so active during the war, refused to return exclusively to home and kitchen. Veterans, who had experienced the worst, could no longer accept the prewar class restrictions and artificial manners. It was only natural that a longing for what seemed a nobler and purer period would be created. Designers, if only partly consciously, turned to that period like flowers to the sun, creating an ambiance which they felt reflected those higher ideals. Ironically, although the influence is more than obvious in both sets and wardrobes, the period devolves into one of freedom bordering on license, and an almost complete overthrow of those old-fashioned ideals.

About the author:

Lora Ann Sigler is professor emerita of art history at California State University. She lives in San Pedro, California.

Past, Present, Future: Medieval Monsters and Their Afterlives at Kalamazoo 2018

I am pleased to announce the schedule for our sponsored session for Kalamazoo this year. (Panel information has been updated on 6 April 2018 to correct errors introduced in the submission process.)

Details follow.

Conference information can be found at https://wmich.edu/medievalcongress.


53rd International Congress on Medieval Studies
Western Michigan University
10- 13 May 2018

Saturday, 1:30 PM
417 SCHNEIDER 1160
Past, Present, Future: Medieval Monsters and Their Afterlives I
Sponsor: Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture
Organizer: Michael A. Torregrossa, Independent Scholar

Presider: Anna Czarnowus, Univ. of Silesia

Giants in the History of England: The Final Frontier and Steven Spielberg’s The BFG

 Geneviève Pigeon, Univ. du Québec–Montréal

The Monstrous Host: Hospitality and Hostility in Kazuo Ishiguro’s The Buried Giant
Matthew Vernon, Univ. of California–Davis

Merlin the White(washed): The Entertainment Industry’s Evasion of Merlin’s Demonic Heritage
Michael A. Torregrossa

A Rapacious Daemon in King Arthur’s Court: Re-designating Merlin as a Demonic Rapist in Arthuriana [note corrected title]
Tirumular Narayanan, California State Univ.–Chico


Saturday, 3:30 PM
469 SCHNEIDER 1160
Past, Present, Future: Medieval Monsters and Their Afterlives II
Sponsor: Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture
Organizer: Michael A. Torregrossa, Independent Scholar

Presider: Whitney Dirks-Schuster, Grand Valley State Univ.

Haunting Poltergeists: Historical and Cinematic Representations of Ghosts as Demonic Monsters
Rex Barnes, Columbia Univ.

The Queer and the Dead: Medieval Revenants and Their Afterlives in In the Flesh
Elliot Mason, Concordia Univ. Montréal

The Witcher’s Anal Eye: Monstrous Technologies of the Medievalized Other in Witcher 3: Wild Hunt
Kevin Moberly , Old Dominion Univ.; Brent Addison Moberly, Indiana Univ.–Bloomington

The Monstrous Mongols in Medieval Eurasia and Modern Day Film
Colleen C. Ho, Univ. of Maryland

Arthurian Roundtable at MAPACA This Week

I am pleased to present the line-up for our upcoming sponsored roundtable session this week at the annual meeting of the Mid-Atlantic Popular & American Culture Association in Philadelphia. This marks our second year at MAPACA. Full details on the conference at https://mapaca.net/conference.

Here is the information on our session:

New Visits to Camelot: Reflecting on the Contemporary Matter of Britain on Screen (Roundtable)

Session sponsored by the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture for the Medieval & Renaissance Area of the Mid-Atlantic Popular/American Culture Association

Organizer/Presider: Michael A. Torregrossa (Independent Scholar)

Guy Ritchie and Michael Bay (Oh My): The Challenges of Contemporary Visions of Camelot on Screen

Michael A. Torregrossa (Independent Scholar)

Michael A. Torregrossa is a medievalist whose research interests include adaptation, Arthuriana, comics and comic art, medievalism, monsters, and wizards. His published work includes essays on both Merlin and Mordred on film as well as entries on television in recent supplements to the Arthurian Encyclopedia. Michael is also founder of both The Alliance for the Promotion of Research on the Matter of Britain and The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture and serves as Fantastic Area Chair for the Northeast Popular Culture/American Culture Association.

Othering Pagan Archetypes: Reimaginings of Merlin and Morgan le Fay

Rachael Warmington (Indiana University of Pennsylvania)

Rachael Warmington is a doctoral candidate at Indiana University of Pennsylvania. She earned her B.A. in English from Montclair State University, M.A. in English from Seton Hall University, and her MFA at City College of New York, City University of New York. Rachael is also the editor-in-chief of the open source academic journal Watchung Review. Her current research focuses on the ways in which early regional and generational variations of Arthurian legend influence contemporary literary, film and television adaptations and appropriations of Arthurian works.

Round Table Revival: The Order: 1886

Carl Sell (Indiana University of Pennsylvania)

Carl Sell is PhD candidate at Indiana University of Pennsylvania. He is interested in all things medieval and Early Modern, and his studies focus on the Arthurian Legend and modern adaptations of the legend as well as adaptations of Robin Hood.

Robin Hood CD Update

An update to my previous post. Intrada has now listed the information and track listing for The Legacy Collection: Robin Hood CD to its online catalog. Details at http://store.intrada.com/s.nl/it.A/id.10941/.f.

Here are all 41 tracks:

Disc 1
1. Main Title (0:52)
2. Whistle Stop (2:49)
3. Oo-De-Lally (0:59)
4. Hail John (1:50)
5. It’s Only a Circus (1:17)
6. Fortune Tellers (3:07)
7. Enter the Sheriff (1:37)
8. Skippy’s Birthday Gift (3:32)
9. A Lost Arrow (1:20)
10. Meeting Maid Marion (2:35)
11. To the Winner (1:32)
12. The Archery Affair (1:52)
13. Fooling Ol’ Bushel Britches (2:01)
14. Archer’s Processional (1:04)
15. Sir Hiss Suspects (0:34)
16. Well, Well (2:00)
17. The Loser (2:11)
18. Seize the Fat One (3:35)
19. Fight On Wisconsin (0:36)
20. There You Are (2:11)
21. Love (1:56)
22. The Phony King of England (2:44)
23. Double the Taxes (0:46)
24. Not In Nottingham (5:05)
25. Not Yourself Today (4:02)
26. Bird Brain (4:02)
27. Lower the Bridge (6:12)
28. All’s Well That Ends Well (1:59)

Disc 2
1. Whistle Stop (Ragtime Demo) (Instrumental) (2:21)
2. Oo-De-Lally (Western Score Demo) (Instrumental) (0:38)
3. Not In Nottingham (Prince John Demo) (1:02)
4. Love (Robin Hood Version) (3:38)
5. The Phony King of England (Country Version) (2:04)
Louis Prima Bonus Tracks:
6. King Louie and Robin Hood (2:42)
7. Robin and Me (1:39)
8. Sherwood Forest (3:14)
9. The Phony King of England (2:09)
10. Friar Tuck (1:50)
11. Merry Men (1:34)
12. Love (1:55)
13. Robin Hood (2:15)

Elliott's The Return of Epic Film

Seems I'm very much behind here. More details on recent scholarship in the field.

The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century
Edited By: Andrew Elliot
(Information from Edinburgh University Press)
(Information from Oxford University Press)

Edinburgh University Press
Publication Date: Mar 2014
Dimensions: 234 x 156 mm
Extent: 240 pages
Illustrations:
12 bw Ill., film stills

Hardback
ISBN: 9780748684021
Price: £70.00

Paperback
ISBN: 9781474402842
Price: £19.99

This book is distributed in North & South America by Oxford University Press USA

Hardcover (01 April 2014) for $120.00 (same ISBN as UK edition)

Paperback (available for pre-orders and will ship on 01 March 2015) $34.95 (same ISBN as UK edition)


Details (Edinburgh)

Explores the return of the ‘epic’ in twenty-first-century cinema

With the success of Gladiator, both critics and scholars enthusiastically announced the return of a genre which had lain dormant for thirty years. However, this return raises important new questions which remain unanswered. Why did the epic come back, and why did it fall out of fashion? Are these the same kinds of epics as the 1950s and 60s, or are there aesthetic differences? Can we treat Kingdom of Heaven, 300 and Thor indiscriminately as one genre? Are non-Western histories like Hero and Mongol epics, too? Finally, what precisely do we mean when we talk about the return of the epic film, and why are they back?
The Return of the Epic Film offers a fresh way of thinking about a body of films which has dominated our screens for a decade. With contributions from top scholars in the field, the collection adopts a range of interdisciplinary perspectives to explore the epic film in the twenty-first century.


Details (Oxford)

What does the new epic film now look like? How is it classified? Why has it returned?

The success of Gladiator re-launched a genre which had lain dormant for 35 years. The Return of the Epic Film is one of the first books to examine this return as a coherent body of films. Studying a range of films from Gladiator to Clash of the Titans, the various essays question how we define these new epics, their aesthetics, their relationship to history, and who decides which films should be in the canon. Over the course of 11 essays by key figures in the field, the book examines in what ways, why, and how the epic film has returned to our cinemas.

By embracing a range of approaches which take into account the production process, and by questioning the canon of films conventionally accepted as epics, this book will inspire Film Studies students and scholars to rethink the epic film.


Contents

Introduction: The Return of the Epic, Andrew B.R. Elliott (read online)

Part I: Epics and Ancient History
Sir Ridley Scott and the Rebirth of the Epic, Jeffrey Richards
The Decline and Fall of the Roman Empire and America since the Second World War: Some Cinematic Parallels, Kevin J. Harty
There’s Nothing So Wrong with a Hollywood Script that a Bunch of Giant CGI Scorpions Can’t Solve: Politics, Computer Generated Images and Camp in the Critical Reception of the Post-Gladiator Historical Epics: Mark Jancovich
Popcorn and Circus: An Audience Expects, Robert Stow

Part II: Epic Aesthetics and Genre
Colour in the Epic Film: Alexander and Hero, Robert Burgoyne
Defining the Epic: Medieval and Fantasy Epics, Paul Sturtevant
Special Effects, Reality, and the New Epic, Andrew B.R. Elliott

Part III: Epic Films and the Canon
Pass the Ammunition: A Short Etymology of Blockbuster, Sheldon Hall
Epic Stumbling Blocks, Saër Maty Bâ
The Greatest Epic of the 21st Century?, Deborah Bridge
Ramayana and Sita in Films and Popular Media: The Repositioning of a Globalised Version, Aarttee Kaul Dhar


Editor

Andrew B.R. Elliott is a Senior Lecturer at the University of Lincoln, UK, where he works on the depiction of history in popular culture. In addition to his work on epics, he has written on the use of the Middle Ages, Robin Hood, Vikings, and Classical Antiquity in film, as well as the depiction of the past in video games and television.

New/Recent: Medieval Motion Picture: The Politics of Adaptation

Here's another recent book of interest. This one looks to be from mostly European scholars.

The Medieval Motion Picture: The Politics of Adaptation
Edited by Andrew James Johnston, Margitta Rouse, Philipp Hinz
Publisher Palgrave Macmillan
Series The New Middle Ages

$95.00
ISBN 9780230112506
Publication Date April 2014
Hardcover (256 pages)
Formats Hardcover Ebook (EPUB) Ebook (PDF)

Details

Providing new and challenging ways of understanding the medieval in the modern and vice versa, The Medieval Motion Picture: The Politics of Adaptation highlights how medieval aesthetic experience breathes life into contemporary cinema. Engaging with the subject of time and temporality, the essays examine the politics of adaptation and our contemporary entanglement with the medieval: not only in overtly medieval-themed films but also in such diverse genres as thrillers, horror films, performance animation, and even science fiction. Among the films and TV shows discussed are productions such as HBO's award winning series Game of Thrones, Francis Ford Coppola's Bram Stoker's Dracula, Akira Kurosawa's Ran, and M. Night Shyamalan's The Sixth Sense.


Contents

Introduction: Temporalities of Adaptation; Andrew James Johnston and Margitta Rouse (read online)

1. "Now is the time": Shakespeare's Medieval Temporalities in Akira Kurosawa's Ran; Jocelyn Keller and Wolfram R. Keller

2. Dracula's Times: Adapting the Middle Ages in Francis Ford Coppola's Bram Stoker's Dracula; Cordula Lemke

3. Rethinking Anachronism for Medieval Film in Richard Donner's Timeline; Margitta Rouse

4. Otherness Redoubled and Refracted: Intercultural Dialogues in The Thirteenth Warrior; Judith Klinger

5. Crisis Discourse and Art Theory: Richard Wagner's Legacy in Films; Veith von Fürstenberg and Kevin Reynolds Stefan Keppler-Tasaki

6. Adaptation as Hyperreality: The (A)historicism of Trauma in Robert Zemeckis's Beowulf; Philipp Hinz and Margitta Rouse

7. Perils of Generation: Incest, Romance and the Proliferation of Narrative in Game of Thrones; Martin Bleisteiner

8. Arthurian Myth and Cinematic Horror: M. Night Shyamalan's The Sixth Sense; Hans Jürgen Scheuer

9. Marian Re-writes the Legend: The Temporality of Archaeological Remains in Richard Lester's Robin and Marian; Andrew James Johnston

Bibliography


Editors

Andrew James Johnston is Chair of Medieval and Renaissance English Literature at the Freie Universität Berlin, Germany, and author of Performing the Middle Ages from Beowulf to Othello.

Margitta Rouse is Assistant Professor at the Humboldt-Universität zu Berlin, Germany. She teaches medieval English literature as well as cinematic adaptation.

Philipp Hinz curates film festivals and publishes stage-to-screen adaptations on DVD.

October 2014 Listings on Syfy

Here are the listings for this past month, October 2014, on Syfy. There are the usual movie repeats as well as a new medieval-themed episode of Face Off.


THURS., 2 OCT

01:00 AM
Movie: Witchslayer Gretl
03:00 AM
Movie: Witchville

09:30 AM
Movie: Witchville
11:30 AM
Movie: Witchslayer Gretl


SUN., 5 OCT

03:30 AM
Movie: Dark Relic


MON., 13 OCT

11:00 AM
Movie: Dracula 2000


THURS.,16 OCT

11:00 AM
Movie: Reign of the Gargoyles
01:00 PM
Movie: Grendel


FRI., 17 OCT

08:30 AM
Movie: Dracula 2000
12:30 AM
Movie: Dracula II: Ascension


SAT., 18 OCT

02:00 AM
Movie: Dracula 2000
4:00 AM
Movie: Dracula II: Ascension


TUES., 28 OCT

09:00 PM
Face Off: One Knight Only (season 7 finale ends with "A knight challenge")

11:00 PM
Face Off: One Knight Only


WEDNES., 29 OCT

03:00 PM
Ghost Hunters: Knights of the Living Dead (at Higgins Armory Museum)


FRI., 31 OCT

11:00 PM
Face Off: One Knight Only

Syfy Listings for September 2014

I seem to be forever catching up here. Here at last are the listings for September 2014. October 2014 will follow tonight and the rest of the 2014 backlog this weekend.

WEDNES., 3 SEPT

03:00 AM
Movie: Sinbad and the Minotaur

02:30 PM
Ghost Hunters: Knights of the Living Dead (Higgins Armory Museum)


THURS., 4 SEPT

11:10 PM
Syfy Original Movie: Thor: Hammer of the Gods


FRI., 5 SEPT

3:20 AM
Movie: Almighty Thor

11:00 PM
The Almighty Johnsons: "Hunting Reindeer on Slippery Rocks"


SAT., 6 SEPT

12:00 AM
The Almighty Johnsons: "Every Good Quest Has a Sacrifice"

03:00 AM
The Almighty Johnsons: "Hunting Reindeer on Slippery Rocks"
04:00 AM
The Almighty Johnsons: "Every Good Quest Has a Sacrifice"


SUN., 7 SEPT

1:30 AM
Syfy Original Movie: Riverworld (Part 1)
3:30 AM
Syfy Original Movie: Riverworld (Part 2)


WEDNES., 10 SEPT

01:00 AM
Syfy Original Movie: Black Forest
03:00 AM
Syfy Original Movie: Witchville

03:30 PM
Movie: Vikingdom

09:00 PM
Movie: Robin Hood


FRI., 12 SEPT

12:10 AM
Syfy Original Movie: Aladdin And The Death Lamp

04:10 AM
Syfy Original Movie: Book Of Beasts, The


SAT., 13 SEPT

04:00 PM
Movie: Outlander


MON., 15 SEPT

05:00 AM
The Twilight Zone: A Short Drink From A Certain Fountain


THURS., 25 SEPT

11:30 AM
Movie: Jabberwock


FRI., 26 SEPT

12:35 AM
Movie: Dracula 2000
02:35 AM
Movie: Dracula II: Ascension

09:00 AM
Movie: Dracula 2000
11:00 AM
Movie: Dracula II: Ascension

Medieval Studies on Screen at ICoM 2013

International Society for the Study of Medievalism
Annual Conference
October 17-19, 2013
St. Norbert College, De Pere, Wisconsin

Full program at http://www.medievalism.net/conferences/2013issmconference/2013issmprogram.pdf.

Friday, October 18

9:30-10:45
Session 2, Merlin and Mearcstapas
Moderator Mike Lovano, SNC
1. Tara Foster, Northern Michigan University
“Merlin (2012): Un beau cadeau au public?”
2. Jon Sherman, Northern Michigan University
“Geoffrey of Monmouth and the Children’s Program The Boy Merlin ”
3. Vickie Holtz-Wodzak, Viterbo University
“Prowling the Margins: Hagrid the Mearcstapa and Other Creatures That Can Take Care of Themselves”

11:00-12:00
The Kathryn Haselblad-Pascal Plenary Lecture
Nickolas Haydock, University of Puerto Rico, Mayaguez
“Medievalism and Anamorphosis: Curious Perspectives on the Middle Ages”


3:00-4:15
Session 6, The French and the Fabulous
Moderator John Pennington, SNC
Paper 3 (of 3): Tom Conner, St. Norbert College
“Filming Roland: Klaus Kinski’s Medievalism”


Saturday, October 19

9:30-10:45

Session 7, Misfits in the Margins
Moderator Elizabeth Cannon
1. Pamela Clements, Siena College
“A Matter of Stature: The Medieval Dwarf”
2. Lauryn Mayer, Washington and Jefferson College
“’Gladly Lerne’: The Problems and Profit of Male Mentorship for Women in Game of Thrones”
3. Carol Robinson, Kent State University, Trumbull
“The Quest for a Deaf Lesbian Dwarf and/or Midget/Gnome: Neomedievalism and Video Game Character Development”


11:00-12:15

Session 9, The Dangerous North
Moderator Timothy Glenn, SNC
1. Stefan Hall, University of Wisconsin, Green Bay
“Trolls Medieval to Modern”
2. Michael Nagy, South Dakota State University
“The Post-medieval Troll”
3. Juan Kuang Ortiz, University of Puerto Rico, Mayaguez
“Horny Norsemen: Ragnar Lodbrok and the History Channel Vikings”


3:30-5:00

Film Screening and Medievalism Gaming Workshop

CFP Fairy Tale Adaptations (5/15/14; PAMLA 10/31-11/2/14)

With apologies for cross-posting:

Pacific Ancient and Modern Language Association
112th Annual Conference - Riverside Convention Center, California
Friday, October 31 - Sunday, November 2, 2014

Once Upon a Time

Presiding Officer:
Elena Polyudova, Russian Institute for Art Education Studies

This session focuses on modern TV shows, movies, and books based on fairy tales and myths. On the one hand, these productions utilize well-known magical plots. On the other hand, they create new cultural and psychological patterns according to modern interpretations. The session offers the opportunity to analyze the phenomenon of modern experimentation from different perspectives: narrative changes in the plots; correlation between famous plots and modern contexts; psychological interpretations of the characters; modern visions of old stories expressed in costumes and scenery; linguistic analyses of scripts and texts.

Status:
Open (accepting submissions)

Associated Sessions
Once Upon a Time

Topic Type:
Special Session

- See more at: http://www.pamla.org/2014/topics/once-upon-time#sthash.SJvk7944.dpuf