Laurie A. Finke is a professor of women's and gender studies at Kenyon College. Martin B. Shichtman is a professor of English language and literature at Eastern Michigan University. Professors Finke and Shichtman have collaborated on numerous publications, including King Arthur and the Myth of History and Medieval Texts and Contemporary Readers.

• List of FiguresAcknowledgmentsPart 1: Theory and Methods of Cinematic Medievalism1. Traversing the Fantasy: Screening the Middle Ages2. Signs of the Medieval: A Sociological Stylistics of Film3. Celluloid History: Cinematic Fidelity and InfidelityPart 2: The Politics of Cinematic Medievalism4. Mirror of Princes: Representations of Political Authority in Medieval Films5. The Politics of Hagiography: Joan of Arc on the Screen6. The Hagiography of Politics: Mourning in America7. The Crusades: War of the Cross or God's Own Bloodbath?Part 3: Cinematic Medievalism and the Anxieties of Modernity8. Looking Awry at the Grail: Mourning Becomes Modernity9. Apocalyptic Medievalism: Rape and Disease as Figures of Social Anomie10. Forever Young: The Teen Middle AgesNotesBibliographyIndex

One of the most refreshing aspects of this book is that Finke and Shichtman combine encyclopedic knowledge of and masterful control over their material-including but not limited to film studies, medieval literature and history, and popular culture-with nuanced analysis, deft prose, and a palpable enjoyment of the topic. The authors are clearly having a grand time and invite readers to join in. -- Mary K. Ramsey Heroic Age: A Journal of Early Medieval Northwestern Europe 2010 Through Finke and Shichtman's use of film theory and cinema criticism, along with their sensitive deployment of medieval historical and literary details, the Middle Ages emerges as a period production in this excellent and innovative study. -- Holly A. Crocker Speculum 2011

Laurie A. Finke is a professor of women's and gender studies at Kenyon College. Martin B. Shichtman is a professor of English language and literature at Eastern Michigan University. Professors Finke and Shichtman have collaborated on numerous publications, including King Arthur and the Myth of History and Medieval Texts and Contemporary Readers.

• List of FiguresAcknowledgmentsPart 1: Theory and Methods of Cinematic Medievalism1. Traversing the Fantasy: Screening the Middle Ages2. Signs of the Medieval: A Sociological Stylistics of Film3. Celluloid History: Cinematic Fidelity and InfidelityPart 2: The Politics of Cinematic Medievalism4. Mirror of Princes: Representations of Political Authority in Medieval Films5. The Politics of Hagiography: Joan of Arc on the Screen6. The Hagiography of Politics: Mourning in America7. The Crusades: War of the Cross or God's Own Bloodbath?Part 3: Cinematic Medievalism and the Anxieties of Modernity8. Looking Awry at the Grail: Mourning Becomes Modernity9. Apocalyptic Medievalism: Rape and Disease as Figures of Social Anomie10. Forever Young: The Teen Middle AgesNotesBibliographyIndex

One of the most refreshing aspects of this book is that Finke and Shichtman combine encyclopedic knowledge of and masterful control over their material-including but not limited to film studies, medieval literature and history, and popular culture-with nuanced analysis, deft prose, and a palpable enjoyment of the topic. The authors are clearly having a grand time and invite readers to join in. -- Mary K. Ramsey Heroic Age: A Journal of Early Medieval Northwestern Europe 2010 Through Finke and Shichtman's use of film theory and cinema criticism, along with their sensitive deployment of medieval historical and literary details, the Middle Ages emerges as a period production in this excellent and innovative study. -- Holly A. Crocker Speculum 2011

Laurie A. Finke is a professor of women's and gender studies at Kenyon College. Martin B. Shichtman is a professor of English language and literature at Eastern Michigan University. Professors Finke and Shichtman have collaborated on numerous publications, including King Arthur and the Myth of History and Medieval Texts and Contemporary Readers.

• List of FiguresAcknowledgmentsPart 1: Theory and Methods of Cinematic Medievalism1. Traversing the Fantasy: Screening the Middle Ages2. Signs of the Medieval: A Sociological Stylistics of Film3. Celluloid History: Cinematic Fidelity and InfidelityPart 2: The Politics of Cinematic Medievalism4. Mirror of Princes: Representations of Political Authority in Medieval Films5. The Politics of Hagiography: Joan of Arc on the Screen6. The Hagiography of Politics: Mourning in America7. The Crusades: War of the Cross or God's Own Bloodbath?Part 3: Cinematic Medievalism and the Anxieties of Modernity8. Looking Awry at the Grail: Mourning Becomes Modernity9. Apocalyptic Medievalism: Rape and Disease as Figures of Social Anomie10. Forever Young: The Teen Middle AgesNotesBibliographyIndex

One of the most refreshing aspects of this book is that Finke and Shichtman combine encyclopedic knowledge of and masterful control over their material-including but not limited to film studies, medieval literature and history, and popular culture-with nuanced analysis, deft prose, and a palpable enjoyment of the topic. The authors are clearly having a grand time and invite readers to join in. -- Mary K. Ramsey Heroic Age: A Journal of Early Medieval Northwestern Europe 2010 Through Finke and Shichtman's use of film theory and cinema criticism, along with their sensitive deployment of medieval historical and literary details, the Middle Ages emerges as a period production in this excellent and innovative study. -- Holly A. Crocker Speculum 2011