TitleLost in Translatio: TV and Film Adaptations of Medieval(ist) Texts, II
Date/TimeThursday 6 July 2017: 11.15-12.45
SponsorInternational Society for the Study of Medievalism
OrganiserMichael Evans, Faculty of Social Science, Delta College, Michigan
Moderator/ChairKristin Noone, Irvine Valley College, California / Department of English, University of California, Riverside
Paper 1642-a 'I am [an animated] villain!': Re-Creating Richard III in Animation
(Language: English)
Murat Öğütcü, Department of English Language & Literature, Munzur University, Tunceli
Index Terms: Medievalism and Antiquarianism; Performance Arts - Drama
Paper 1642-b 'The Original Game of Thrones': Maurice Druon's Les Rois maudits and Its Television Adaptations
(Language: English)
Michael Evans, Faculty of Social Science, Delta College, Michigan
Index Terms: Gender Studies; Medievalism and Antiquarianism
Paper 1642-c Popular Narratives and Their Crimes: Rape in Middle English Romance and Game of Thrones
(Language: English)
Hannah Piercy, Institut für Englische Sprachen & Literaturen, Universität Bern
Index Terms: Gender Studies; Language and Literature - Middle English; Medievalism and Antiquarianism
Paper 1642-d Of Dungeons and Desolations: The Presence of Romanticism in Berserk's Middle Ages
(Language: English)
Daniel Fernandes, Instituto de Artes, Universidade de Brasília
Gustavo Lopes de Souza, Universidade Federal de Minas Gerais / Instituto de Artes, Universidade de Brasilia
Index Terms: Language and Literature - Scandinavian; Medievalism and Antiquarianism
AbstractMedievalist film is a growing area of study, with many books published in the last two decades, and medievalist television is attracting growing scholarly interest. This session will address a specific aspect of medievalist TV or film that has attracted less scholarly attention: adaptation of medieval or medievalist texts for the screen. Adapted texts include original medieval works, post-medieval 'classics' on medieval themes, or modern medievalist historical and fantasy fiction. How (if at all) do adaptations convey the 'otherness' of medieval Europe to a modern audience? And what is lost in translation to the screen?