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INDEX A Animaguses, 101 Adams, Bryan, 160 Aphrodite, 17, 124 Addinsell, Richard, 167 Aristotelian, 17, 18 Adele, 127 Aristotle, 24, 26, 29, 31, 37 Adonis, 12, 19, 24, 28, 136 The Ark of Truth, 185, 198 The Adventures of Marco Polo, 155 Army of Darkness, 159 The Adventures of Robin Hood, 160, Arras carité, 151 165, 173 Ars amatoria, 18 Aélis, 5 Arthur and the Invisibles, 166, 174 Aeneas, 10, 11, 33 Arthur’s Court, 14, 26, 157–160, Afallennau, 180, 181, 193, 195 162, 163, 176, 197 Akehurst, F.R.P., 2, 8 Arnulf of Orleans, 12, 29, 36, 37 Alexander Nevsky, 155, 156 Aronstein, Susan, 156, 171, 199 Aliénor d’Aquitaine, 5 Arthur, 1, 4, 5, 7, 10, 14, 15, 19, 30, All the King’s Men, The Greatest Show 84, 85, 134, 142, 145, 147, 157, on Earth, 155 165, 166, 168, 179, 183, 185, Altman, Rick, 154, 170 186, 190 Amadis of Gaul, 153, 170 Arthurian, 2–5, 9–12, 18–20, 22, Amant, 13, 15, 18, 27–29 24, 32–34, 70, 80, 133, 149, Ambrosius, Merlin, 178, 179, 190 151–153, 156, 160, 164–169, Amour courtois, 87, 115, 117, 125, 173, 176, 178, 186, 188, 189, 207, 208 192, 199 Amors, 56, 57 Ascension, 185 Andromeda, 19, 21, 22, 24 Aulularia, 42 © The Editor(s) (if applicable) and The Author(s) 2017 223 D. Nelson-Campbell and R. Cholakian (eds.), The Legacy of Courtly Literature, Arthurian and Courtly Cultures, https://doi.org/10.1007/978-3-319-60729-0 224 INDEX Augustinian, 87 Boorman, John, 84, 147, 164 Bortnyansky, D., 159 Bowie, David, 162–163 B Bragnae, 143 Babylon 5, 176, 187 Brangane, 134 Bacchus, 23 Britanniae, 10, 178, 191, 196 Bachman, Tal, 124 Brittany, 95, 109, 136 Back to the Future, 119 Bronwyn, 138–140 Ballade du concours de Blois, 61, 62 Bruckner, Matilda Tomaryn, 92, 94, Ballade franco-latine, 61 108, 109 Barton, Anne, 43, 52 Brulé, Gace, 208 Batman Forever, 122 Brut, 183, 196 BBC Merlin, 184, 185, 187, 193, 197, Brutus, 10 199 Brynolfsson, Reine, 141 Beard, Daniel Carter, 158 Brythonic, 94, 109 Beauty and the Beast, 83, 87, 88 Bun’ei, 215 Bec, Pierre, 117 Burke, Johnny, 162 Bede, 177 Burton, Richard, 138 Bédier, Joseph, 3, 42, 52, 134, 144, Bush, Stephen, 154 146 Byelorussian, 133 Belle Dame sans merci, 125 Bellerophon, 19 Benjamin, Walter, 156, 171 C Bergman, Ingrid, 83, 155 Caesar, 63 Beroul, 136, 147 Caledonian Forest, 179 Bersuire, Pierre, 22, 29, 35, 37 Camelot, 4, 24, 176, 183, 185, 187, Besson, Luc, 166, 174 197, 198 Bestiary(ies), 6, 91, 92, 98–110 Canso, 1, 5, 8 Bettini, Maurizio, 99, 110 Canterbury Tales, 43, 48, 52 Biau Semblant, 57 Capellanus, Andreas, 80, 117 Bible, 153, 184 Cardon, Jacques, 68 Bisclavret, 3 Carey, Mariah, 128 Black Book of Carmarthen, 180, 193 Carmarthen, 179, 180, 182, 193 Black Knight, 159, 163, 168 Carmina Burana, 164 The Black Rose, 167 Casablanca, 79, 83 The Blackboard Jungle, 160 Cassandra, 66 Blackmore, Ritchie, 122 Cato, 65 Bo Juyi/Po Chü-I, 213 Caxton, 177, 191 Bob Hope, 161 Celidonius, 178, 179 Boccaccio, 43, 45, 46 Celtic, 3, 10, 11, 33, 135, 138, 148, Bogart, Humphrey, 83 192–194 Book of Kells, 138 Cercamon, 208 INDEX 225 Cervantes, 157 D Chambers, E.K., 43, 52 Dairi go-kai Hajime, 216 Chansonniers, 4 Dairi-Shiika-go-kai Hajime, 215 Chansons de geste, 208 d’Anjou, René, 56, 69, 75 Chaplin, 80 d’Aurenga, Raimbaut, 145 Charivari, 51 Davis, Judith M., 2 Charlemagne, 153 de Boron, Robert, 183, 196 Charles V, 13 de Bourbon, Duc, 62 Chartier, Alain, 56 de Conty, Évrart, 13–15, 17, 18, Chaucer, vii, 33, 43–46, 48, 51, 52 32, 34 Chaucerian, 50, 53 de Corbiac, Peire (Corbian), 178 Chess of Love, 13, 18, 34, 35 de Hamel, Christopher, 109, 110 Chicks, Dixie, 124 de Koven, Reginald, 154, 155, 160 Chion, Michel, 161, 168, 173, 174 De la Bretèque, François, 160, 171, Chivalry, vii, 1, 32, 153 172 Chwedl Iarlles y Ffynnawn, 182 de la Halle, Adam, 123, 197 Cleopatra, 124 de Lille, Alain, 100 Clovis, 63 de Loré, Ambroise, 71, 72 Cocteau, Jean, 83, 134, 136, 137, de Lorris, Guillaume, 12, 36, 55, 56, 146, 147, 149 59, 72, 120 Comedia Lidie, 43, 52 de Machaut, Guillaume, 56, 122, The Comical Gallant, 44 128, 168 A Connecticut Yankee, 157, 159, 167 Danse macabre, 60 A Connecticut Yankee in King De amore, 80, 88, 117 Arthur’s Court, 157–159, 167, de Bergerac, Cyrano, 85 176, 197 de Merlin, Estoire, 183, 197 Corman, Roger, 155 de Meun, Jean, 12, 15, 25, 27, 28, 36, Cornish, 142, 145 72, 73 Cornwall, 4, 94, 95, 134, 135, 139, de Meung, Jean, 55, 56, 58–60, 73 143, 147 de Montreuil, Jean, 56 Court Jester, The, 160 de Pizan, Christine, 16, 19–22, 31, Courtly love, vii, viii, 1, 2, 4, 5, 9, 32, 35, 56, 73 12–15, 18, 19, 24, 32, 56, 79, de Provins, Guiot, 208 80, 87, 88, 119 de Riquier, Guiraut, 4 Crosby, Bing, 160–163, 168 de Rougemont, Denis, 137, 147, Crusade, Albigensian, 208 148 Cuchulain, 138 d’Estouteville, Robert, 68, 70 Cusak, Cyril, 138 de Troyes, Chrétien, 3, 10–14, 32–34, Cuttica nel Medioevo, 159 153, 195, 208 Cyfoesi, 181 de Vaucelles, Catherine, 60 Cyfoesi Myrddin a Gwenddydd ei de Ventadorn, Bernart, 118, 208 Chwaer, 180 del Virgilio, Giovanni, 29 226 INDEX Delannoy, Jean, 134–136, 142, 144, Edison, Thomas, 155 146, 149 Edo, 216, 217, 219 Dennis, John, 44 Eisenstein, Sergei, 156 de la Rose, Le Roman, 12, 13, 36, 37, Eleanor of Aquitaine, 208 72, 73, 117, 120, 121, 128 Elfman, D., 159 De re militari, 58, 73 Empress Genmei, 209 Decameron, 43, 45, 46 Epistle of Othea to Hector, 32, 35 Departie d’Amours, 61 Epistre Othea, 16, 19, 20, 22, 31, 32, Deschamps, Eustache, 56 35 Diana, 13, 15, 18, 21 Eternal Return, The, 134, 136, 142, Dickson, W.K.L., 155 146, 149 Dido, 66 Excalibur, 79, 84, 147, 164 Disney’s Ye Olden Days, 161 Épître, 61–63, 66, 72 Dokuji, 210 Épître à Marie d’Orléans, 61, 62 Donne, John, 142, 143, 148 EPVNSE, 71, 75 Dairi-uta-go-kai hajime, 215 Erec et Enide, 12, 34 Donovan, Tom, 134, 137–139, 141, Exeter, 6, 91, 94, 95, 196 147, 149 Douglas Bride, 155 Douz Regart, 57 F d’Orléans, Charles, 6, 56, 57, 61–63, Fabliau, 6, 41, 43, 44, 46, 48, 50, 51 65, 66, 68, 74 Fabliaux, 41–46, 48, 50–51 Dragonheart, 164 Fairbanks, Douglas, 160 Dragonetti, Roger, 117, 123 Falstaff, Sir John, 44–51 Druid, 138, 184, 185 Fantastic Beasts and Where to Find Duc de Bourbon, 62 Them, 101 Dufournet, Jean, 68, 72, 75, 197 Finke, 173, 176, 190 Dumbledore, 176, 187, 188 Fantastic Beasts, 101 Dumville, David, 177, 191, 193 Faust, 154, 165, 170 Fellowship of the Ring, The, 163, 170 Fitzgerald, Geraldine, 138 E Fleming, Rhonda, 162 Ebert, Roger, 144, 148 Fleming, Victor, 155, 165 Echo, 30, 31, 66 Ford, 45, 46, 48–50, 105, 172 Ed Wood; Plan 9 from Outer Space, Fourth Horseman, The, 185 155 France, vii, viii, 3–6, 8, 41, 42, 56, Echecs amoreux, 32 109, 116, 128, 134, 136, 149, Egitto, 160 177, 207, 208 Eliduc, 6, 92–95, 97, 98, 100, 108, Franco, 61, 148 109 Fin’amor, 2, 4, 7, 56, 61, 71, 79, 115, Empire of Illusion, 152, 169 117, 128, 129 Equitan, 3 First Knight, 166 Edelman, Randy, 159, 164 Friar’s Tale, 43 INDEX 227 Franco, James, 142 Guinevere, 4, 134 Frankie Goes to Hollywood, 119 Gunnlaugsdottir, Tinna, 141 Franzoni, David, 177, 190 Goodrich, 186, 188 French prose Ovid, 14 As Good As It Gets, 79, 81 Friedhofer, Hugo, 155, 165, 167 Goodwin, R., 159 Froissart, Jean, 56, 73 Gorgon, 21–24, 32 Fujiwara-no Teika, 213, 215, 218 Gounod, 154, 165 Fujiwara-no-Kintoh, 212 Gwasgargerdd Myrddin yn ei Fedd, 180 Fuller, Calvin, 162, 163 Grail, 166, 167 Fuller, P., 159 Green Knight, 25 Fuqua, Antoine, 177, 190 Grosse Margot, 61, 66, 69, 72 Furst, W., 159 Guenevere, 14, 15, 17, 84, 85, 134 Guildeluec, 93, 94, 96–100 Guillaume IX, 4, 109, 208 G Guilliadun, 93, 94, 97–100 Galatea, 27, 28, 30, 31 Gunnlaugsson, Hrafn, 134, 140, 141, Galfredian, 182, 191 147, 149 Gallagher, Bronagh, 143 Gwenddydd, 180, 181 Gandalf, 176, 187, 188, 197, 198 Ganieda, 184 Gaston Paris, 4, 115 H Gaunt, Simon, 2, 8 Handel, Georg Friedrich, 160 Gawain, 5, 10, 11, 19, 24–27, 29–33, Harty, Kevin, 146, 147, 149, 157, 36, 37 170, 173, 189, 198 Geoffrey of Monmouth, 10, 177, 178, Hassei, 210 191–193, 196 Hector, 22 Gerald of Wales, 106, 179, 192, 193 Hedge, Chris, 152, 169 Geki-nikki, 215, 220 Heian Period, 208, 209, 212–215, Gere, Richard, 82 217, 220 Gerson, Jean, 56 Heike, 217 Gildas, 177 Henry II, 5, 108, 197, 208 Gildon, Charles, 44 Henry IV, Part 2, 45 Glastonbury Tor, 186 Henry VI, 20 Goldsmith, Jerry, 166 Hercules, 23, 29, 84, 86, 87 Goldwyn, Samuel, 155 Hermaphroditus, 10, 12, 15–19, 22, Gollnick, James T., 177, 189, 191 24 Genji Monogatari, 214, 217 Hermes, 17 Geoffrey of Monmouth’s Historia regum Heusen, 159, 162 Britanniae, 10, 191, 193, 196 Heywood, John, 43, 44, 52 Geta, 42 Hikoh, 210, 219 Going My Way, 161 Harry Potter and the Philosopher’s Guildeluec ha Guilliadun, 93, 94, 100 Stone, 163, 189 228 INDEX Historia Brittonum (HRB), 177–180, J 182–184, 186, 187, 191, 193, Jackson, Daniel, 186, 198 196 Jackson, Peter, 154, 170 Historia regum, 10, 178, 191, 196 Jarman, 178, 192–195 Hogwarts, 101, 103, 104, 107 Je meurs de seuf auprès de la fontaine, Holmes, Sherlock, 187 62 Homer, 5, 11, 50 Jean II, 62 Homer’s Iliad, 50 Jesus, 63, 64 Huey Lewis and the News, 119 Joan of Arc, 124, 155, 165, 167 Hunt, Helen, 81 Jabberwocky, 166 Hwimleian, 180 Jazz Singer, The, 162 Hyaku-nin Isshu, 209, 217 Joan the Woman, 159 Joel, Billy, 125 John of Garland, 23, 35 I John the Baptist, 64 Iceland, 134, 140, 149 Jones, Trevor, 164 Icelandic, 133, 140, 144, 145, 148 Jongleurs, 3, 42, 115 Igrena, 183 Jove, 23, 166 Imperial New Year, 207, 208 Jugnot, Gerard, 185 Imperials, 119 Integumenta Ovidii, 23, 35 International Society for the Study of K Medievalism, 1, 8 Kaamelott, 176, 184 Ireland, 105, 106, 109, 111, 134, Kahn, Coppélia, 49, 53 135, 138, 139, 142–144, 149 Kamakura, 215,
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    Feature Film Blurays BLU ABO DISC 1 About time BLU ACR Across the universe BLU AGE DISC 1 The age of Adaline BLU ALL All is lost BLU AMA DISC 1 The amazing spiderman 2 BLU AME American history X BLU AME American sniper BLU AME DISC 1 American Ultra BLU AME DISC 13 American Crime Story: The People V. O. J. Simpson BLU AMY Amy BLU ANO DISC 1 Another year BLU ANO DISC 1 Another Earth BLU ANT AntMan BLU ANY DISC 1 Any given Sunday BLU APO Apollo 13 BLU AUG August BLU AVI The aviator BLU BAD DISC 1 Bad words BLU BAG DISC 1 Baggage claim BLU BAT Batman v Superman BLU BEI Being there BLU BEL Belle BLU BIG Big fish BLU BIG Big eyes BLU BIL DISC 1 Billy Elliot BLU BIR Birdman BLU BLA Black mass BLU BLA DISC 1 Black sea BLU BLO Blood diamond BLU BLU Blue Jasmine BLU BLU Blue velvet BLU BON Bonnie and Clyde BLU BOND SPE Spectre BLU BOND SPY The spy who loved me BLU BOO The book thief BLU BOY Boyhood BLU BOY The boy next door BLU BRE The breakup BLU BRE DISC 1 Breaking the waves BLU BRI Bridget Jones's diary BLU BRI DISC 1 Bridge of spies BLU BRO Brokeback Mountain BLU BRO Brooklyn BLU BUR Burnt BLU CAF DISC 1 Cafe Society BLU CAP Captain America. The winter soldier BLU CAP Capote BLU CAP DISC 1 Captain Phillips BLU CAS Cast away BLU CAT DISC 1 Catch my soul BLU CHI Chinatown BLU CHI DISC 1 Chicago BLU CIN DISC 1 Cinderella BLU CIN DISC 1 Cinderella BLU CLO DISC 1 Closed circuit BLU COB DISC 1 The cobbler BLU CON Concussion BLU CON The confirmation BLU CRA Crash BLU CRE Creed BLU CRI DISC 1 Crimson Peak BLU DAD DISC 1 Daddy's home BLU DAL DISC 1 Dallas buyers club BLU DAN The Danish Girl BLU DAN DISC 1 Danny Collins BLU DAR Dark places BLU DEA Masterpiece mystery.
  • You've Seen the Movie, Now Play The

    You've Seen the Movie, Now Play The

    “YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power.
  • The Evolving Iconography of the Tristan Legend from the Middle Ages to the Present, with Special Emphasis on the Arthurian Reviv

    The Evolving Iconography of the Tristan Legend from the Middle Ages to the Present, with Special Emphasis on the Arthurian Reviv

    66 arthuriana the 2018 loomises lecture The Evolving Iconography of the Tristan Legend from the Middle Ages to the Present, with Special Emphasis on the Arthurian Revival in British Art joan tasker grimbert In this essay, I explore how the iconography of the legend of Tristan and Iseult evolved through the ages, noting how each epoch favored a specific episode that seemed to emblemize the lovers’ plight. Although I consider various cultural influences, I emphasize the particular works (mostly literary) from which artists, musicians, and filmmakers appear to have drawn their primary inspiration. (JTG) he legend of Tristan and Iseult has had a long and remarkable history.1 TOriginating apparently as an oral tale to which the troubadours allude as early as the eleventh century, it is preserved in fragments of narrative poems in Anglo-Norman, Middle High German, Middle English, and Old Norse dating back to the late twelfth and early thirteenth centuries. It was transformed decisively in the thirteenth century when it merged with the legend of King Arthur in the French prose Tristan, a work which then spawned variations in Italian and Spanish. The prose Tristan was later preserved in abbreviated form in late fifteenth-century printed editions and—quite differently—in the vast middle section of Sir Thomas Malory’s Morte Darthur. After experiencing a lull in the early modern period, the legend was again revived in the nineteenth century with the appearance of new editions of Malory’s work and inaugural editions of the medieval verse romances, which inspired contemporary poets and artists. In the later decades of that century, Richard Wagner’s opera, Tristan und Isolde, left its powerful imprint on poets, artists, and eventually filmmakers, and, in the early twentieth century, Joseph Bédier’sRoman de Tristan et Iseut likewise influenced primarily book illustrators and filmmakers.