Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.

This important essay collection confirms that 'medieval film' is worthy of intense scholarly scrutiny. The introduction and nine chapters consider medieval history, literature, language, music and culture in light of their uses on film, along with film history, and literary and film criticism. Here the visual meets the visionary and the modern, the medieval: subtitles and soundtracks are considered along with a range of visual and verbal signifieers that convery the medieval world to modern audiences. Martha W. Driver, Professor of English at Pace University. -- .

Anke Bernau is lecturer in Medieval Literature and Culture at the University of Manchester|Bettina Bildhauer is Lecturer in German at the University of St Andrews