http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
reimagining the Middle Ages during film's foundational era
Introduction : On silent films, medieval sites of intelligibility, and the Thanhouser Company’s Oh, What a Knight! (1910) / Tison Pugh and Angela Jane Weisl -- The magic mechanic : Georges Méliès’s cinematic medievalism / Carol L. Robinson -- Making presence in silence : Milano Films adapts Dante’s Inferno (1911) / Elizabeth Coggeshall -- Lucius Henderson’s Tannhäuser (1913), Richard Wagner, and their imagined Middle Ages / Laura E. Wangerin -- “While helpless whites looked on” : Intersections of white nationalism and medievalism in D. W. Griffith’s The Birth of a Nation (1915) / Sabina Rahman -- Virginity, allegory, and orgiastic visuality in Cecil B. DeMille’s Joan the Woman (1916) / Tison Pugh and Angela Jane Weisl -- Medievalism, generic fluidity, and (maybe even) proto-feminism in Benjamin Christensen’s Häxan (1922) / Kevin J. Harty -- Bad blood : The spectral Jew and mimetic rivalry in F. W. Murnau’s Nosferatu (1922) and Hartmann von Aue’s Der arme Heinrich / Alfred Thomas -- Queen of love and beauty : Fictions of Marian’s sovereignty in Douglas Fairbanks’s Robin Hood (1922) / Valerie B. Johnson -- Medievalism, trauma, and vengeance in Fritz Lang’s Die Nibelungen (1924) / Alexandra Sterling-Hellenbrand -- What’s past is not prologue : Temporal and spatial dislocation in Carl Theodor Dreyer’s The Passion of Joan of Arc (1928) / Robert Squillace -- Wilding the tame : Roy William Neill’s The Viking (1928) from adaptation to genre archetype / Kimberly Ball -- The lost music of medieval silents / John Haines
edited by Tison Pugh and Angela Jane Weisl
Includes bibliographical references and index
PERFORMING ARTS / Film / History & Criticism
Columbus : The Ohio State University Press, [2026]
Interventions: new studies in medieval culture