Medieval and Early Modern Film and Media
Medieval and Early Modern Film and Media contextualizes historical films in an innovative way - not only relating them to the history of cinema, but also to premodern and early modern media. This philological approach to the (pre)history of cinema engages
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Medieval and Early Modern Film and Media Richard Burt
MEDIEVAL AND EARLY MODERN FILM AND MEDIA
Copyright © Richard Burt, 2008. Softcover reprint of the hardcover 1st edition 2008 978-0-230-60125-3 All rights reserved. First published in 2008 by PALGRAVE MACMILLAN® in the US—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-0-230-10560-7 ISBN 978-0-230-61456-7 (eBook) DOI 10.1007/978-0-230-61456-7 Library of Congress Cataloging-in-Publication Data is available from the Library of Congress. A catalogue record of the book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: August 2008 10 9 8 7 6 5 4 3 2 1 Transferred to Digital Printing in 2009
To My Double Nuclear Families For my mother, Claire Hollingsworth Burt, a native of Santa Ana, Californina and cinephile in her own right who taught me early on in my life everything I’d ever need to know about film; for my father, Maclay Burt, whose photographs of road signs in Europe he took in 1974 and of closed and often seriously deteriorating movie theaters he took in the 1990s in California continue to stop and startle me; and for my wife, the love and light of my life, fire of my loins, Elizabeth; our daughter Nora; and our son Wiley.
Contents
List of Figures
ix
Acknowledgments
xi
Introduction: Film before and after New Media, Anec-notology, and the Philological Uncanny 1.
The Medieval and Early Modern Cinematographosphere: De-composing Paratexts, Media Analogues, and the Living Dead Hands of Surrealism, Psychoanalysis, and New Historicism
2. The Passion of El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/Cryptomorphoses
1
23
75
3. Cutting and (Re)Running from the (Medieval) Middle East: The Return of the Film Epic and the Uncanny Mise-hors-scènes of Kingdom of Heaven’s Double DVDs
107
4. Le détour de Martin Guerre: “Anec-notes” of Historical Film Advisors, Archival Aberrations, and the Uncanny Subject of the Academic Paratext
137
Epilegomenon: Anec-Post-It-Note to Self: Freud, Greenblatt, and the New Historicist Uncanny
169
Notes
187
Works Cited
249
Index for Print Sources
267
Index of Films
275
List of Figures
1.1 1.2 1.3 1.4 1.5 1.6
1.7 1.8 2.1 2.2 2.3 2.4 2.5 2.6 4.1
Shadowing Medieval History as Modern History in Bram Stoker’s Dracula Teaser Prologue for Hans Holbein’s “The Ambassadors” (1533) in the Quay Brothers’ Anamorphosis (1991) Endodiegetic Paratext as Mise-en-Scène and Biotechnological Spectator Pulling the
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