200c syllabus 2015
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Medieval Studies, 200CSpring Quarter 20159 May 2015 versionThursdays, 7:00+, HSSB 4020Edward D. English Office Hours by appointment, HSSB firstname.lastname@example.org
This part of the course will cover how the Middle Ages and medievalism have interacted and been portrayed in film. We will ask the question whether and how these films might influence our views of the past and just how much we know or think we know about the Middle Ages from the movies and popular culture. We will view as many as five films in class and discuss them. Remember you are required to write an essay of 12-15 pages with scholarly apparatus by the end of this quarter of the course. They can be on any aspect of our topics and discussions but you let the instructor know of your choice. If you choose to do the film quarter, you will have a choice of a movie and its topic. It could be one we view in class or not. The films we will study may include: The Advocate, The Sorceress, The Messenger, El Cid, The Decameron, The Kingdom of Heaven, The Seventh Seal, The Anchoress, and The Return of Martin Guerre. This will be decided at the first meeting on 2 April 2015.We will watch one film in each of our five meetings and discuss it the next time we meet. There will be a list of three or four readings for each film and often a supplementary one posted on my web site. Additional readings will be posted on my web site on the history department site and are marked in the syllabus by PDF: http://www.history.ucsb.edu/courses/course.php?course_id=1582. If you find an article marked by you would like to read on the supplementary lists and those below and marked by PDF, please let me know and I can forward you a copy.
Some Recommended Text Books
John Aberth. A Knight at the Movies: Medieval History on Film. New York: Routledge, 2003.
Laurie A. Finke and Martin B. Shichtman. Cinematic Illuminations: The Middle Ages on Film. Baltimore: The Johns Hopkins University Press, 2010.
Nickolas Haydock. Movie Medievalism: The Imaginary Middle Ages. London: McFarland & Company, Inc., 2008.
General and Supplementary Readings
John H. Arnold. What is Medieval History? Cambridge: Polity Press, 2008.
Marcus Bull. Thinking Medieval: An Introduction to the Study of the Middle Ages. New York: Palgrave Macmillan, 2005.
Nickolas Haydock and E. L Risden, eds. Hollywood in the Holy Land: essays on Film Depictions of the Crusades and Christian-Muslim Clashes. London: McFarland & Company, Inc., 2009; note especially the introduction by Haydock and the epilogue by Risden PDF.
Medievalism and Film
Stuart Airlie, Strange Eventful Histories: The Middle Ages in the Cinema in The Medieval World. Eds. Peter Linehan and Janet L Nelson. New York: Routledge, 2001, pp. 163-83. PDF
Greta Austin, Were the Peasants Really So Clean? The Middle Ages in Film, Film History, 14:2 (2002), 136-41. PDF
Anke Bernau and Bettina Bildhauer, eds. Medieval Film. Manchester: Manchester University Press, 2009.
Kathleen Biddick. The Shock of Medievalism. Durham: Duke University Press, 1998.
Richard Burt. Medieval and Early Modern Film and Media. New York: Palgrave Macmillan, 2008.
Richard Burt, Getting Schmedieval: Of Manuscript and Film Prologues, Paratext, and Paradies, Exemplaria, 19:2 (Summer, 2007), 217-42. PDF
Richard Burt, Re-Embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences, Exemplaria, 19:2 (Summer, 2007), 327-50. PDF
Martha Driver and Sid Ray, eds. The Medieval Hero on Screen: Representations from Beowulf to Buffy. London: McFarland & Company, Inc., 2004.
Martha Driver, Writing about Medieval Movies: Authenticity and History, Film and History, 29:1/2 (1999), 5-7. PDF
Martha Driver, Teaching the Middle Ages on Film: Visual Narrative and the Historical Record, History Compass, 5:1 (2007), 259-74. PDF
Martha Driver, Teaching and Learning Guide for: Teaching the Middle Ages on Film: Visual Narrative and the Historical Record, History Compass, 6:3 (2008), 1000-1009. PDF
Andrew B. R. Elliott, Remaking the Middle Ages: The Methods of Cinema and History in Portraying the Medieval World. London: McFarland & Company, Inc., 2011.
Alison Ganze, ed. Postscript to the Middle Ages: Teaching Medieval Studies through The Name of the Rose. Syracuse: Syracuse University Press, 2009.
John M. Ganim, Framing the West, Staging the East: Set Design, Location and Landscape in Movie Medievalism in Haydock and Risden, eds. Hollywood in the Holy Land, pp. 31-46. PDF
Kevin J. Hardy. The Reel Middle Ages: American, Western and Eastern European, Middle Eastern and Asian Films about Medieval Europe. London: McFarland & Company, Inc., 1999.
Kevin J. Hardy, ed. The Vikings on Film: Essays on Depictions of the Nordic Middle Ages. London: McFarland & Company, Inc., 2011.
Nickolas Haydock, Introduction: The Unseen Cross upon the Breast: Medievalism, Orientalism and Discontent in Haydock and Risden, eds. Hollywood in the Holy Land, pp. 1-30. PDF
David Herlihy. Am I a Camera? Other Reflections on Films and History, The American Historical Review, 93:5 (December, 1988), 1186-92. PDF
Marnie Hughes-Warrington. History Goes to the Movies: Studying History on Film. New York: Routledge, 2007.
Scott Alan Metzger, Pedagogy and the Historical Feature Film: Toward Historical Literacy, Film & History, 37:2 (2008), 67-75. PDF
John OConnor, history in Images/Images in History: Reflections on the Importance of Film and Television Study for an Understanding of the Past, The American Historical Review, 93:5 (December, 1988), 1200-1209. PDF
William D. Paden, I Learned at the Movies: Teaching Medieval Film, Studies in Medievalisms, 13 (2004), 79-98. PDF
Tison Pugh and Angela Jane Weisl, eds. Medivalisms: Making the Past in the Present. New York: Routledge, 2013.
Lynn T. Ramey and Tison Pugh, eds. Race, Class, and Gender in Medieval Cinema. New York: Palgrave Macmillan, 2007; especially Introduction: Filming the Other Middle Ages, pp. 1-12. PDF
Robert A. Rosenstone, History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film, The American Historical Review, 93:5 (December, 1988), 1173-85. PDF
Tom Shippey with Martin Arnold, eds. Film and Fiction: Reviewing the Middle Ages. Studies in Medievalism, 12. Cambridge: D. S. Brewer, 2002.
Note also Professor Teo Ruiz of UCLA on movies and history:http://www.historians.org/perspectives/issues/2008/0812/0812fil2.cfm
Robert Brent Toplin, The Filmmaker as Historian, The American Historical Review, 93:5 (December, 1988), 1210-27. PDF
David Williams, Medieval Movies, Yearbook of English Studies, 20 (1990), 1-33. PDF
David John Williams, Looking at the Middle Ages in the Cinema: An Overview, Film and History, 29:1/2 (1999), 8-19. PDF
Recommended Medieval Films:Some more than others.The Adventures of Robin Hood (1938).Alexander Nevsky (1937). The Anchoress (1993).Andrei Rublev (1966).The Black Death (2010).The Black Rose (1950).Braveheart (1995). This one would be difficult to write about.Brother Sun/Sister Moon (Zefferelli). If you can handle the music by DonovanThe Crusades (1935).The Decameron (Pasolini) (1971).El Cid (1961).Excalibur (1981). If you are familiar with Arthurian material Malory.First Knight (1995). Sort of Arthurian.Gawain and the Green Knight (1973).Henry V (1989).Henry V (1944). (Larry Olivier)Ironclad (2011).A Knights Tale (2001). If you like music by Queen. Lancelot du Lac (1974) (Luc Bresson). Again Arthurian.Magnificat (1993).The Name of the Rose. (1986). Especially if you like Umberto Eco.The Navigator (1988).Passion of Joan of Arc (1928).Pope Joan (1972). Extra credit if you can find it.The Reckoning (2006). Richard III (Larry Olivier).Romeo and Juliet (1968) (Zeffirelli).Robin and Marian (1976) (Richard Lester).The Saga of the Viking Women and Their Voyage to the waters of the Great Sea Serpent (1957) (Roger Corman).Saladin (1963).The Secret of Kells (2009).Stealing Heaven (1988). Bad version of relationship between Heloise and Abelard.The 13th Warrior (1999).Tristan and Isolde (2006). If you know the medieval story.The Vikings (1958).The Virgin Spring (1960).Vision (2010).The War Lord (1965).Several possibilities from among the movies of Akira Kurosawa.Suggestions for analyzing and writing essays on films on the Middle Ages:Does the film have any relevance to contemporary life or modernity?
Do you understand the Middle Ages better after seeing a particular film with its own requirements as an art form??
For some movies do they have any links with a particular text?
How does its aspect as a visual media interact with its medieval story or setting? Filmmakers versus historians?
What can film help us to know about the past or medieval people that we might not have known before?
Is there a political, commercial, or another modern agenda informing a movie about the Middle Ages?
How might that add or detract from its subject matter? Or change its subject matter? Does it tell you what historians actually do?
How does the film reflect historical reality or visual history? As a popular or romantic or tactile communicator of history?
Which is more important or valuable, authenticity or accuracy? Does it look authentic to you? Standards of hygiene or dental care?
What do we mean by authenticity or accuracy in different media?
What are the limitations of a particular film in representing the past? Be specific. How do people talk in these movies?
What are some new ways in which film creates immediacy or a sense of participation in the past? Be specific.