Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture. -- .

Essays studying the relationship between literariness and form in medieval texts. The twenty-first century has witnessed the re-emergence of various kinds of literary formalism, and one project that characterizes most of these diverse formalisms is the effort to distinguish what is precisely literary about their objects of study. The presumed relation between form and the literary that this project presupposes, however, raises questions that still need to be addressed. What is it about form that produces the category of the literary? What precisely is literary about literary form? Can the literary be defined beyond form? This volume explores these questions in the historical and geographical frame of late medieval Britain, across vaunted literary works such as the Franklin's Tale, Sir Gawain and the Green Knight, and the Towneley Shepherds' Plays, and presumed "non-literary" texts, such as books of hours. By studying texts from a period long priorto literary formalism - indeed, before any fully articulated theory of the literary - the essays gathered here aim to rethink the relationship between form and the literary. Robert J. Meyer-Lee is Margaret W. PepperdeneDistinguished Scholar-in-Residence at Agnes Scott College; Catherine Sanok is an Associate Professor of English and Women's Studies at the University of Michigan. Contributors: Anke Bernau, Jessica Brantley, Seeta Chaganti, Shannon Gayk, Kathryn Kerby-Fulton, Andrew Klein, Robert J. Meyer-Lee, Ingrid Nelson, Maura Nolan, Sarah Elliott Novacich, Catherine Sanok, Emily Steiner, Claire M. Waters.

The Saints' Life was one of the most popular forms of literature in medieval England. This volume offers crucial information for an understanding of the genre. The saints were the superheroes and the celebrities of medieval England, bridging the gap between heaven and earth, the living and the dead. A vast body of literature evolved during the middle ages to ensure that everyone, from kings to peasants, knew the stories of the lives, deaths and afterlives of the saints. However, despite its popularity and ubiquity, the genre of the Saint's Life has until recently been little studied. This collection introduces the canon of Middle English hagiography; places it in the context of the cults of saints; analyses key themes within hagiographic narrative, including gender, power, violence and history; and, finally, shows how hagiographic themessurvived the Reformation. Overall it offers both information for those coming to the genre for the first time, and points forward to new trends in research. Dr SARAH SALIH is Senior Lecturer in English, King's College London. Contributors: SAMANTHA RICHES, MARY BETH LONG, CLAIRE M. WATERS, ROBERT MILLS, ANKE BERNAU, KATHERINE J. LEWIS, MATTHEW WOODCOCK

From Joan of Arc to Britney Spears, the figure of the virgin has been the subject of considerable scholarly and popular interest. Yet virginity itself is a paradoxical condition, both perfect and monstrous, present and absent, often visible only insofar as it is under threat. Medieval Virginities traces some of the specific manifestations of virginity in late medieval culture. It shows how virginity is represented in medical, legal, hagiographical and historical texts, as well as how the seductive but dangerous figure of the virgin affects the aims and objectives of these texts. Because virginity is so often thought of as self-identical and ahistorical, Medieval Virginities aims to theorize and historicize its various manifestations and to demonstrate how representations and discussions of virginity continuously shift and change. The variety of subjects and disciplines represented here testify both to the elusiveness of virginity and to its lasting appeal and importance. Medieval Virginities shows how virginity's inherent ambiguity highlights the problems, contradictions and discontinuities lurking within medieval ideologies. It will be essential reading for anyone interested in questions of gender identity, conceptions of the body, subjectivity, truth and representation in medieval culture.

This collection explores some of the many ways in which sanctity was closely intertwined with the development of literary strategies across a range of writings in late medieval Britain. Rather than looking for clues in religious practices in order to explain such changes, or reading literature for information about sanctity, these essays consider the ways in which sanctity - as concept and as theme - allowed writers to articulate and to develop further their 'craft' in specific ways. While scholars in recent years have turned once more to questions of literary form and technique, the kinds of writings considered in this collection - writings that were immensely popular in their own time - have not attracted the same amount of attention as more secular forms. The collection as a whole offers new insights for scholars interested in form, style, poetics, literary history and aesthetics, by considering sanctity first and foremost as literature -- .

This book explores theoretical questions about the ideological, artistic, emotional, and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a "medieval film"? What is a medieval film and why are they successful?

This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies, and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish, and American film, exploring topics such translation, temporality, film noir, framing, and period film, and find the medieval lurking in unexpected corners. In addition, it provides in-depth studies of individual films from different countries including "The Birth of a Nation" to "Nosferatu," and "Robin Hood: Prince of Thieves."

"Medieval Film" will be of interest to medievalists working in disciplines including literature, history, and art history, and to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates, and to an informed enthusiast in film and/or medieval culture.