Queer Movie Medievalisms is the first book of its kind to grapple with the ways in which mediations between past and present, as registered on the silver screen, queerly undercut assumptions about sexuality throughout time. It will be of great interest to scholars of Gender and Sexuality, Cultural and Media Studies, Film Studies and Medieval History.
Queer Movie Medievalisms is the first book of its kind to grapple with the ways in which mediations between past and present, as registered on the silver screen, queerly undercut assumptions about sexuality throughout time. It will be of great interest to scholars of Gender and Sexuality, Cultural and Media Studies, Film Studies and Medieval History.
Kathleen Coyne Kelly is Professor of English at Northeastern University, USA Tison Pugh is Associate Professor of English at the University of Central Florida, USA
Inhaltsangabe
Contents: Introduction: queer history cinematic medievalism and the impossibility of sexuality Kathleen Coyne Kelly and Tison Pugh; The law of the daughter: queer family politics in Bertrand Tavernier's La Passion Béatrice Lisa Manter; Queering the Lionheart: Richard I in The Lion in Winter on stage and screen R. Barton Palmer; 'He's not a ardent suitor is he brother?': Richard the Lionheart's ambiguous sexuality in Cecil B. DeMille's The Crusades (1935) Lorraine Kochanske Stock; 'In the company of Orcs': Peter Jackson's queer Tolkien Jane Chance; The Eastern Western: camp as a response to cultural failure in The Conqueror Anna Klosowska; 'In my own idiom': social critique campy gender and queer performance in Monty Python and the Holy Grail Susan Aronstein; Performance camp and queering history in Luc Besson's Jeanne d'Arc Susan Hayward; Sean Connery's star persona and the queer Middle Ages Tison Pugh; Will Rogers' pink spot: A Connecticut Yankee (1931) Kathleen Coyne Kelly; Danny Kaye and the 'fairy tale' of queerness in The Court Jester Martha Bayless; Mourning and sexual difference in Hans-Jÿrgen Syberbergs's Parsifal Michelle Bolduc; Superficial medievalism and the queer futures of film Cary Howie; Afterword Glenn Burger and Steven F. Kruger; Index.
Contents: Introduction: queer history cinematic medievalism and the impossibility of sexuality Kathleen Coyne Kelly and Tison Pugh; The law of the daughter: queer family politics in Bertrand Tavernier's La Passion Béatrice Lisa Manter; Queering the Lionheart: Richard I in The Lion in Winter on stage and screen R. Barton Palmer; 'He's not a ardent suitor is he brother?': Richard the Lionheart's ambiguous sexuality in Cecil B. DeMille's The Crusades (1935) Lorraine Kochanske Stock; 'In the company of Orcs': Peter Jackson's queer Tolkien Jane Chance; The Eastern Western: camp as a response to cultural failure in The Conqueror Anna Klosowska; 'In my own idiom': social critique campy gender and queer performance in Monty Python and the Holy Grail Susan Aronstein; Performance camp and queering history in Luc Besson's Jeanne d'Arc Susan Hayward; Sean Connery's star persona and the queer Middle Ages Tison Pugh; Will Rogers' pink spot: A Connecticut Yankee (1931) Kathleen Coyne Kelly; Danny Kaye and the 'fairy tale' of queerness in The Court Jester Martha Bayless; Mourning and sexual difference in Hans-Jÿrgen Syberbergs's Parsifal Michelle Bolduc; Superficial medievalism and the queer futures of film Cary Howie; Afterword Glenn Burger and Steven F. Kruger; Index.
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