IMC 2017: Sessions

Session 1642: Lost in Translatio: TV and Film Adaptations of Medieval(ist) Texts, II

Thursday 6 July 2017, 11.15-12.45

Sponsor:International Society for the Study of Medievalism
Organiser:Michael Evans, Faculty of Social Science, Delta College, Michigan
Moderator/Chair:Kristin 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-cPopular Narratives and Their Crimes: Rape in Middle English Romance and Game of Thrones
(Language: English)
Hannah Piercy, Institute of Medieval & Early Modern Studies, Durham University
Index terms: Gender Studies, Language and Literature - Middle English, Medievalism and Antiquarianism
Paper 1642-dOf Dungeons and Desolations: The Presence of Romanticism in Berserk's Middle Ages
(Language: English)
Gustavo Lopes de Souza, Universidade Federal de Minas Gerais / Instituto de Artes, Universidade de Brasilia
Daniel Fernandes, Instituto de Artes, Universidade de Brasília
Index terms: Language and Literature - Scandinavian, Medievalism and Antiquarianism
Abstract

Medievalist 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?