Queer Movie MedievalismsKathleen Coyne Kelly, Tison Pugh In the urge to understand or experience history, 'medieval' films attempt to re-create the past, but can only do so through a queer re-visioning that inevitably replicates modernity. This book looks at the ways in which mediations between past and present, as registered in film, queerly undercut assumptions about sexuality throughout time |
Contents
Queer Family Politics | 19 |
Stage and Screen | 45 |
4 | 62 |
5 | 88 |
6 | 100 |
7 | 117 |
Sean Connerys Star Persona and the Queer Middle Ages | 147 |
A Connecticut Yankee 1931 | 165 |
Danny Kaye and the Fairy Tale of Queerness in The Court Jester | 185 |
Mourning and Sexual Difference in HansJürgen Syberbergs | 201 |
Superficial Medievalism and the Queer Futures of Film | 221 |
Afterword | 237 |
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actor alpha-male androgyne argues Arthur Béatrice's behavior Berengaria Bertrand Tavernier Besson body Bond Brundage camp Cenci Chad character Cinema comic Connecticut Yankee Connery Connery's Conqueror construction contrapposto Cortemare costume Court Jester cross-dressing Crusade cultural Danny Kaye daughter Dinshaw fantasy father female fiction film's François François's Frodo gender and sexuality Genghis Khan genres Gillingham Gollum Hawkins hero heteronormative heterosexuality Hobbits Hollywood homosexual homosocial Howie identity incest J. R. R. Tolkien Jackson's Joan John Kaye Kaye's King Knight Lancelot legend Lion in Winter Lord LOTR male Martin masculinity medieval films medieval past melancholia Middle Ages modern mourning narrative Orcs Parsifal Passion Béatrice patriarchal performance Philip play political Python Queer Movie Medievalisms relationship Richard the Lionheart Rings Robin Hood Rogers role Rutebeuf Saladin scene sexual difference social star persona story suggests Syberberg Tavernier Tavernier's Tison Pugh Tolkien touch trans violence Wagner Western woman women York