Titlebook: Race, Class, and Gender in "Medieval" Cinema; Lynn T. Ramey,Tison Pugh Book 2007 Palgrave Macmillan, a division of Nature America Inc. 200

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Introduction: Filming the “other” Middle Agess Joan of Arc films in the late nineteenth century, the Middle Ages has served as a preferred setting for exploring on the silver screen some of society’s deepest concerns.. But the marriage of film and history is frequently somewhat inharmonious because, as Vivian Sobchack observes, combining moder

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Once, Present, and Future Kings: , and the Multitemporality of Medieval Filmin him in the Holy Land, he uses terms that will be familiar to any student of the frontier myth and its cinematic expression, the Western. There, he tells Balian, “a man can repair his fortunes”; there “you are not what you were born, but what you have it in yourself to be.” In the East you can, if

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Reversing the Crusades: Hegemony, Orientalism, and Film Language in Youssef Chahine’s ser’s consolidation of power, it was directed by one of the leading figures in modern Egyptian cinema, whose lifetime achievement in film has been complex, critical, and resistant. It is often cited as one of the few film versions of the Crusades from the point of view of the Saracen leader, and one