Re-Embroidering the Bayeux Tapestry in Film and Media: the Flip Side of History in Opening and End Title Sequences
Exemplaria Medieval, Early Modern, Theory ISSN: 1041-2573 (Print) 1753-3074 (Online) Journal homepage: https://www.tandfonline.com/loi/yexm20 Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences Richard Burt To cite this article: Richard Burt (2007) Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences, Exemplaria, 19:2, 327-350, DOI: 10.1179/175330707X212895 To link to this article: https://doi.org/10.1179/175330707X212895 Published online: 18 Jul 2013. Submit your article to this journal Article views: 148 View related articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yexm20 EXEMPLARIA, VOL. 19, NO. 2, SUMMER 2007, 327 – 350 Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences RICHARD BURT University of Florida This essay explores homologies between the Tapestry and cinema, focusing on the opening title sequences of several fi lms that cite the Bayeux Tapestry, including The Vikings; Robin Hood, Prince of Thieves; Bedknobs and Broomsticks; Blackadder; and La Chanson de Roland. The cinematic adaptation of a medieval artifact such as the Bayeux Tapestry suggests that history, whether located in the archive, museum, or movie medievalism, always has a more or less obscure and parodic fl ip side, and that history, written or cinematic, tells a narrative disturbed by uncanny hauntings
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