Medieval History: the Final Cut

Home , Medievalism, The Knight Templar

CALIFORNIA STATE UNIVERSITY SAN MARCOS

THESIS SIGNATURE PAGE

THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE

MASTER OF ARTS

HISTORY

THESIS TITLE: Medieval History: The Final Cut

AUTHOR: Edwarda Adamo

DATE OF SUCCESSFUL DEFENSE: December 6, 2019

THE THESIS HAS BEEN ACCEPTED BY THE THESIS COMMITTEE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DE EE OF MASTER OF ARTS IN HISTORY

Dr. Antonio Zaldivar THESIS COMMITTEE CHAIR

Dr. Jill Watts THESIS COMMITTEE MEMBER

Dr. Alyssa Sepinwall THESIS COMMITTEE MEMBER

THESIS COMMITTEE MEMBER SIGNATURE DATE Medieval Crusades: The Final Cut

By: Edwarda (Edie) Adamo 2

Table of Contents Acknowledgements ...... 3

Introduction ...... 4

Teaching with Film ...... 8

Film Analysis and Theory ...... 16

Teaching The Final Cut ...... 18

Assignments: Goals and Procedures ...... 23

Film Analysis Paper ...... 26

Conclusion ...... 28

Appendix ...... 29

1: Medieval Crusades: The Final Cut Syllabus ...... 29

2: Guidelines for Final Film Analysis Paper ...... 38

Bibliography ...... 40

Acknowledgements

This thesis would not have been possible without the love and support of my family. My mother Cindy who watched my (rambunctious) toddler while I was taking classes full time, and my husband Robbie who has never stopped supporting me in all aspects of life. To my friends who answer my frantic calls on my commute home from a full day of classes. To my son Oliver who is my guiding light and keeps me going when I feel like it’s too hard. I want him to know that anything is possible if you keep working towards your goals and never give up! I love you all!

Introduction

In 1095 Pope Urban II gave his well-known speech at Claremont that launched the first crusade. Although the crusades were not the first instance of justified warfare, the speech is considered to be the start of the campaigns that arguably lasted for centuries and spanned several world regions. Using the subject of the crusades as a case study, this thesis is a pedagogical project that considers an alternative use of dramatic films when teaching history. The crusades are used because there are several popular films about the topic and because the medieval campaigns have significantly influenced relations between western Europe and the rest of the world. Implications for colonization and religious relations that live on in contemporary conflicts have their roots in the crusades. This makes a solid comprehension by the American public of the subject crucial. Through an alternative approach to film within the history classroom, this thesis demonstrates how films can help students understand nuance within the history of the crusades.

In postsecondary education, history classes teach students how to think critically, to analyze primary and secondary source documents, and to write professionally. All those skills are developed through a pedagogical process that promotes thoughtful analysis of history as presented through monographs and primary source documents. Currently, digital media plays a significant role in everyday life but has yet to be fully utilized within the history classroom. The digital components that are being included with the more traditional methods of teaching history include interactive maps and visual presentations. There is also a growing number of instructors who include film when teaching. Even with the growing usage of film in the classroom, they still present historians with a variety of issues, specifically the historical drama. This project outlines how historical dramas on the crusades have been utilized in the history classroom and offers an alternative method. By utilizing multiple fiction films and film clips as a more pronounced

5 secondary source material, students will gain a more comprehensive understanding of the crusades. The quantity and method of analysis of films allows for significant visual representation and reinforcement of themes while conveying empathy that helps to close the temporal gap.

For this project, I have developed a class titled Medieval Crusades: The Final Cut which is an upper division class that focuses on the expeditions known as the crusades from 1095 through the end of the thirteenth century. I begin the class in1095, the year Pope Urban II preached the First Crusade at the Council of Clairmont. I end the class chronologically in 1300 for two reasons: first, no major crusades took place after the end of the thirteenth century; and second, the films that portray the crusades focus on crusading in the eleventh through thirteenth centuries. The class strives to cultivate in students a comprehensive understanding of the crusades by supplementing traditional documentary sources with film when analyzing and discussing various crusading ideals and themes. The Final Cut teaches analytic skills and content knowledge that is valuable to the students as the crusades continue to permeate contemporary debates over political, social, and religious issues.

There is a general lack of understanding regarding the origins, nature, and evolution of the crusading movement in the popular imagination. By adjusting the pedagogical practices to include an extensive use of historical dramatic films, film clips, and an analysis paper that uses film as a secondary source, The Final Cut aims to highlight important themes relating to the crusading movement that improves student comprehension of the subject. Popular films provide instructors with a resource that is familiar and engaging to the students. Even with the film creators focusing more on entertainment than historical accuracy, films remain a valuable pedagogical resource. Medieval Crusades: The Final Cut utilizes the popularity of films like

Arn: The Knight Templar, and Kingdom of Heaven to engage students by integrating the films alongside more traditional pedagogical practices of teacher led lecture, group discussions, and primary source analyses. It will allow the students to utilize the films to identify and reinforce the more abstract themes that can be difficult to distinguish in written sources from the Middle

Ages. Film has a unique ability to visually portray the medieval world and attach emotion to events that have been lost to time. Bridging the temporal gap for history students can be difficult when the written sources are from the twelfth century, hard to read, and even harder to comprehend. Adding thematic analysis of films to traditional analysis of written text allows students to make more personal connections with the daily lives of those who lived over 900 years ago.

While the approach of The Final Cut is a thematic analysis of films, the comparative analysis for accuracy is used most often within the history classroom because of the problematic features that are inherent within films. For instance, the compression of events to fit the time restrictions of film has concerned historians because there are usually about 120 minutes to convey years, sometimes decades, of history. That is inherently very little time to feature the complexities of historical events. There is also the issue of “invention”, whereby a fiction film might make up a person whose actions or circumstances represent those of a portion of society. 1

This causes concern in that the story itself is inherently untrue. This type of historical representation directly contradicts the way that professional historians have interpreted written historical documents. The primary sources that are used in historical analysis are coming from real people who are writing their truth about their experiences. By changing the analysis of films

1 Robert Rosenstone, Visions of the Past: The Challenge of Film to our Idea of History, (Cambridge Massachusetts: Harvard University Press, 1996), 67. Rosenstone discusses the issue of invention and notes that it is “central to understanding history as drama”.

7 to thematic with less focus on plot, people, or storyline, the films can be used more effectively with the written source materials. The concerns about the use of film to teach history are all valid and continue to be discussed within the discipline. However, I believe that the benefits outweigh the pitfalls, especially when considering the quantity of historical dramatic films and the utilization of an alternate analysis format.

The first part of this thesis reviews theories of how films can be analyzed for historical content and different approaches to teaching the crusades. It will also cover several case studies that present ideas on how to teach history using film. That research acted as a guide for Medieval

Crusades: The Final Cut and showcased various approaches with regards to undergraduate classes on the crusades. This thesis adds to the research of filmic history by making historical dramatic films a more pronounced source material within the class structure as outlined in the section of this thesis titled “Teaching The Final Cut.” By understanding contemporary pedagogical practices of classes that include or exclude film, I was able to adjust the methods for

The Final Cut to update how films are used and analyzed. The approach employed in this study is valuable for the constructive relationship that is developed between the two disparate mediums of film and print. Moreover, the use of digital media in the history class is an important tool that can connect current generations of students to the subject.

The second section of this thesis will discuss the approach and methods used in Medieval

Crusades: The Final Cut. The class structure is broken down to better understand how films will be included and what impact it should have on the student learning outcomes.2 Although this class has not been taught in its entirety, there have been iterations that have led to the current

2 To see a list of the student learning outcomes, please reference the syllabus in appendix 1.

8 curriculum provided in the syllabus as seen in Appendix 1. Even though Medieval Crusades: The

Final Cut is designed as an upper division class, instructors can easily adjust it to meet the needs of a lower-division course by eliminating the first paper and reducing the reading requirements.

Ultimately, the goal of the assignments is to increase historical literacy, analytic and writing skills, and student comprehension and retention of the material covered in The Final Cut. By capitalizing on the popularity of historical dramatic films within the education process, historians will have the final cut on the perspectives and significance of the crusades.

Teaching with Film

This section includes information about current practices in the form of syllabi that have been used in several colleges while also exploring current research on the use of films in the classroom. The studies demonstrate how films are being used pedagogically and how interdisciplinary uses of films help feature the medieval world. The syllabi used for this research are all classes taught on the crusades dating from 2011 to 2015 and include courses taught at

Amherst College, California State University San Marcos, Johns Hopkins University, Rutgers

University, and Virginia Polytechnic Institute. A few of the syllabi consulted have used film in their approach to the crusades but their focus is on the traditional format of teaching history. That is to say, the classes are centered around primary and secondary source readings, research papers, and exams. Through a comparative analysis of these materials to the methods used in

Medieval Crusades: The Final Cut, this section of the thesis evaluates where this research fits into the current discourse on teaching the crusades. The method of The Final Cut is to highlight significant ideals and themes that generate a deeper understanding of the crusades and their historical implication, then utilizing film as a significant secondary source material to reinforce those themes.

In recent iterations of crusade classes, instructors emphasize different themes and subjects depending on the goal of the class. Some professors wish to use the crusades as a case study to teach their students about historiography or the professional practices of historians, while others teach the crusades through themes to demonstrate change over time. Professor

Matthew Gabriele of Virginia Polytechnic Institute focused on “what were the crusades, really?” which takes differing historical beliefs of traditionalism and pluralism to help students understand how the crusades have been understood in professional research.3 Professor Stephen

Reinert from Rutgers University used the crusades to teach “differing expressions of ‘penitential warfare’ down to the early 16th century”.4 Courses like these help to deepen students’ understanding of the expansive history of the crusades while giving perspective on its historical significance.5 There are also those who teach the crusades as a lens into broader changes taking place in medieval society. These professors, like Antonio M. Zaldívar from California State

University San Marcos or Teresa Shawcross from Amherst College, contextualize the campaigns of the crusades through political, social, economic, and/or religious change over time.

While this small sample demonstrates the variety of objectives and perspectives currently employed in teaching the crusades, the method of instruction remains the same. It relies on written source materials for student analysis and course content. The inclusion of film into the history classroom is not new and has increased in popularity over the years. 6 Presently, there are

3 Matthew Gabriele, “The Age of the Crusades”, Syllabus from Virginia Tech. Spring 2012, 1. Traditionalists ascribe to the idea that only those expeditions that focused on the East Jerusalem should be considered a crusade, while the pluralists believe that any battle waged in the name of crusade and sanctioned by the pope should also be considered as a crusade. Most classes on the crusades utilize the pluralist approach. 4 Stephen W. Reinert, “The Crusades”, Syllabus from Rutgers University, 1. 5 Each class presented here used the traditional method of teaching history through the analysis of primary and secondary source materials. + 6 Theories about the way history is present in film has been studied since the 1990’s with Robert Rosenstone’s Visions of the Past: The Challenge of Film to Our Idea of History (1995) challenging the ways in which historians had dealt with film. Rosenstone notes that he was including film as an instructor in 1970. Visions of the past (1995): 3.

10 several ways that historians deal with the popularity of historical dramas within a classroom setting, should they choose to incorporate the medium at all.7 One way is to present the films as primary sources to analyze the societies that produced them. Another approach is to introduce a film and have students compare its depiction of events to those presented through the written source documents. This type of analysis is described in an article published in the journal Society for History Education in 2007 by historian Dawn Marie Hayes.8

Professor Hayes created a class that focused on the historiography of the crusades as a way of understanding how professional historians interpret and analyze historical documents.

Hayes asserts that students should understand the actuality of historical source analysis as a similar process to how films “are subject to the biases of the men and women who create them.”9

Hayes draws on the work of Giles Constable, a religious and cultural historian who focuses on the Middle Ages, to illustrate her point. Constable wrote an article titled “The Historiography of the Crusades” that emphasizes differing cultural perspectives that influence how the crusades are presented throughout history. For example, historians that were writing about the crusades in the sixteenth century created a very pro-western and anti-Islamic narrative due to the continuing threat from the Turks at that time. 10 It would not be until the twentieth century that western historians became more critical of the crusades. Hayes is utilizing Constable to exemplify the

7 As demonstrated through the example syllabi, not all professors want to use films within their classrooms. The examples that follow this note are intended to represent those instructors who intentionally bring films into their teaching process. 8 Dawn Marie Hayes, “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades,” Society for History Education 40, no. 3 (2007). 9 Dawn Marie Hayes, “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades,” Society for History Education 40, no. 3 (2007): 350. 10 Dawn Marie Hayes, “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades,” Society for History Education 40, no. 3 (2007): 355

11 differing perspectives that exist within the cannon of crusade historiography, allowing for a more critical analysis of perspective.

Even though Hayes focused her class on historiography, her inclusion of film utilizes a comparative analysis of “factual” information.11 Hayes utilized two separate films in her class, one being the blockbuster drama Kingdom of Heaven by Ridley Scott, the second being a History

Chanel Docuseries titled Crusades: Crescent and the Cross. Hayes required the students to watch the films at home and take an exam at the end of the semester. The exam asked the students to analyze the scholarly information of the crusades presented through the written text

“as it relates to the representations of the crusades in current popular culture” through the two films.12 Hayes asked her students to analyze Kingdom of Heaven and Crescent and the Cross

“considering specific questions: Does the production appear to be historically accurate? (in fact and in spirit)? If so, why? If not, why? How does the movie or documentary compare with the information you have encountered in class and your readings?”13 Hayes notes that her students found the History Channel’s docuseries to be more historically accurate, while they were critical of the historical drama for several reasons including character portrayals and a general misconception of the crusades.14 With the results of the exam, Hayes concludes that her students

“received an important lesson in the necessity of thinking critically about films and documentaries and came to realize the value of paring primary sources and the interpretations of

11 I use the term factual to represent the information that is presented through the traditional written text that Hayes provide to her class throughout the semester. 12 Dawn Marie Hayes, “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades,” Society for History Education 40, no. 3 (2007): 356. 13 Dawn Marie Hayes, “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades,” Society for History Education 40, no. 3 (2007): 357. 14 Dawn Marie Hayes, “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades,” Society for History Education 40, no. 3 (2007): 358.

12 scholars with more widely available source information of historical events.”15 This type of analysis between history as presented through film versus history as presented through text is useful for a comparative analysis, but does not utilize the film medium to its full potential.

Films can provide a connection between history and students. In an article titled “How

Thematic Teaching Can Transform History Instruction,” historian Rodney White asserts that

“history teachers need to examine some fundamental issues regarding teaching and learning

[history]…. History teachers must consider the relationship between content and learners.

Connecting subject matter to the experiences of students is a constant challenge for history teachers.”16 Adding a digital component for visualization can help students relate to the medieval world. In an interdisciplinary study titled “Multimedia Learning Gets Medieval” historian Tara

Williams discusses how she used multimedia, including films, for her undergraduate class on

Chaucer to help students better understand the Middle Ages. Williams states that “[t]he perceived distance between the Middle Ages and the twenty-first century makes it difficult for students to understand the historical and social context or to find connections between medieval and modern ideas…”17 This is similar to the idea that The Final Cut proposes in that there is an emotional disconnect between students and the history that they study. Using film helps to bridge that temporal gap by manifesting empathy and visually illustrating context for the written material being presented.

15 Dawn Marie Hayes, “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades,” Society for History Education 40, no. 3 (2007): 359. 16 Rodney White, “How Thematic Teaching Can Transform History Instruction,” Clearing House: A Journal of Educational strategies, Issues, and Ideas 68 no. 3 (1995): 160 17 Tara Williams, “Multimedia Learning Gets Medieval,” Pedagogy 9, no. 1 (2009): 78.

In a mandatory written survey conducted at the conclusion of her class, Williams found that “85 percent of students (or twenty-three out of twenty-seven) mark[ed] ‘agree’ or ‘strongly agree’ in response to the statement ‘The multimedia resources helped me to imagine what the

Middle Ages were like’…. The remaining fifteen percent were ‘neutral.’”18 Although Williams’s study is compelling, by including digital aids such as PowerPoint slides and websites with film media in her definition of “multimedia,” Williams’s study is inconclusive with regards to the impact of film only. Moreover, her study was done on a literature class as opposed to a history class. Nonetheless, the results of William’s efforts demonstrate just how significant the inclusion of films can be for the teaching process. Films are also effective tools for instructors to gain an understanding of what students are coming into the class already believing about a given history topic.

In an article titled The Good, the (not so) Bad, and the Ugly: Using “Historical” Movies with Adult Learners in the American History Classroom, Thomas P. Jones demonstrates how films can be used as more than just a comparative tool against source documents. Jones states that “[m]y students come to understand that movies cannot do what historians do in their writings…. Nevertheless, movies that re-create American history are a staple… and they can be used profitably in the introductory history class.”19 Jones used film to demonstrate the “mood and feel of the past while, at the same time, giving valuable perspectives on the lives of ordinary people as they confront major issues and problems of their times.”20 Jones also determined that

18 Tara Williams, “Multimedia Learning Gets Medieval,” Pedagogy 9, no. 1 (2009): 83. 19 Thomas Jones, “The Good the (not so) Bad, and the Ugly: Using “Historical” Movies With Adult Learners in the American History Classroom,” Film and History: An Interdisciplinary Journal of Film and Television Studies 19, no. 4 (1989): 77. 20 Thomas Jones, “The Good the (not so) Bad, and the Ugly: Using “Historical” Movies With Adult Learners in the American History Classroom,” Film and History: An Interdisciplinary Journal of Film and Television Studies 19, no. 4 (1989): 77.

14 using films was a good way for his non-traditional adult learners to reacquaint themselves with

American history and rouse their interest using “something that is part of their everyday lives.”21

These examples of film usage demonstrate how films can be used for more than accuracy as a goal. Using films to connect students to the material emotionally and temporally is a positive teaching technique that helps students better identify with the history they are learning. When considering the different types of students and learning styles, the pedagogical benefits of using film in the classroom prove constructive.

Historian Ryan Sprau examines different learning styles of students and the ways that film can be used to enhance the learning experience in his thesis titled I saw it in the Movies:

Suggestions for Incorporating Film and Experiential Learning in the College History Survey

Course. Sprau explains that “many instructors recognize the potential of film in the learning process, but few utilize movies outside of their attempts to give students a “sense” of history…”22 as is the case with the Jones paper on adult education and learning. Alternatively,

Sprau is interested in seeing how historical dramas can be used to channel the student experience from passive to active, and he posits that films are helpful because they present several avenues of learning experiences for differing learning styles. Sprau determines that lower division history survey classes would benefit the most from the inclusion of films to the curriculum due to the wide spectrum of students that take those classes. Sprau lays out his thesis with suggested assignment guidelines that are intended to “help lead students through [David] Kolb’s four

21 Thomas Jones, “The Good the (not so) Bad, and the Ugly: Using “Historical” Movies With Adult Learners in the American History Classroom,” Film and History: An Interdisciplinary Journal of Film and Television Studies 19, no. 4 (1989): 75. 22 Ryan Sprau, “I Saw it in the Movies: Suggestions for Incorporating Film and Experiential Learning in the College History Course,” College Student Journal 35 no. 1 (2001): 101.

15 learning stages while also serving as an alternative to the traditional research/term paper.” 23 In I

Saw it in the Movies, Sprau outlines a project intended to be a semester long endeavor that is due at the end of the class. The project includes picking a film and then writing about it utilizing outside research on the topic. Sprau does not go into detail about any specific topic as his thesis is theoretical and he is most focused on the student learning experience.

23 David Kolb is an American educational theorist that outlined stage-based learning. The first stage is concrete experience, second is reflective observation, third is abstract conceptualization, and fourth is active experimentation. This is outlined in Sprau’s article “I Saw it in the Movies” on page 105. Ryan Sprau, “I Saw it in the Movies: Suggestions for Incorporating Film and Experiential Learning in the College History Course,” College Student Journal 35 no. 1 (2001): 106.

Film Analysis and Theory

Films have provided a way for people to experience historical events, true or not, without having to enter the classroom. Robert Rosenstone states that there is a “rapidly shrinking general audience for the information we [historians] have to deliver.” 24 Furthermore, dramatic fictions are popular and have influence over the way historical events are understood. According to the

Motion Picture Association of America, 263 million Americans and Canadians went to the movies in 2018.25 There is no denying that films are a popular source of entertainment, but it is up to instructors to provide context for and analysis of the information that films present. When the idea of including film in the education process was in its infancy, Rosenstone described the

“tendencies” of how historians dealt with films in his book Visions of the Past: The Challenge of

Film to Our Idea of History. Rosenstone stated that:

[T]he two most popular of these [ways to deal with history on film] – the history of film as art and industry, and the analysis of film as a document (text) that provides a window onto the social and cultural concerns of an era- are well within the boundaries of traditional historical practice. Far more radical in its implications is the investigation of how a visual medium, subject to the conventions of drama and fiction, might be used as a serious vehicle for thinking about our relationship to the past.26 The value of a film within the classroom is not solely in the analysis for accuracy but in their visual representations of abstract concepts and themes.

Fiction film will always have accuracy issues. Historian Thomas P. Jones states that even

“[h]istorians up-to-date with recent work on the subject of film and history know that popular, feature movies always have a tough time re-creating the past to the satisfaction of professional

24 Robert Rosenstone, “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film,” American Historical Review 93 no. 5 (1988): 1175. 25 “Theatrical Market Statistics 2018,” Motion Picture Association of America, Inc., accessed September 4, 2019, https://www.motionpictures.org/wp-content/uploads/2019/03/MPAA-THEME-Report-2018.pdf 26 Robert Rosenstone, Visions of the Past: The Challenge of Film to our Idea of History, (Cambridge Massachusetts: Harvard University Press, 1996), 3.

17 historians.”27 This is due to the inherent nature of the medium. Rosenstone reviews the ideas about history as presented through film with relation to the philosopher Ian Jarvie who studied the relationship of film and society. Rosenstone notes:

There is no time or space [within the span of the film] for reflection, verification, or debate. One may be able to tell ‘interesting, enlightening, and plausible’ historical stories on the screen, but it is not possible to provide the all-important critical elements of historical discourse: evaluation of sources, logical argument, or systematic weighing of evidence…. A motion picture may provide a ‘vivid portrayal’ of the past, but its inaccuracies and simplifications are practically impossible for the serious scholar ‘to correct’.28 To combat the ideas that film cannot be seen as good history, Rosenston created a set of guidelines that helped to answer some of the concerns that plagued filmic history.29 He created ways to deal with compression, invention, and individual story lines by allowing for individual characters to represent lager cultural or societal trends. For example, the film Crusaders utilized in The Final Cut tells the story of three fictional men and a fictional love story. Although the plot might not be historically accurate, the types of people that the men represent did exist and their values surrounding crusading are seen within the context of crusade historiography.30 As

Rosenstone states in his book History on Film/Film on History, filmic “truths are metaphoric and symbolic, not literal.”31 It is with the updated understanding and analysis for history on film that

27 Thomas Jones, “The Good, the (not so) Bad, and the Ugly: Using “Historical” Movies With Adult Learners in the American History Classroom,” Film and History: An Interdisciplinary Journal of Film and Television Studies 19 no. 4, (1989): 74. 28 Robert Rosenstone, “History in Images/ History in Words: Reflections on the Possibility of Really Putting History onto Film,” American Historical Review 93 no. 5, (1988): 1177. 29 Rosenstone published several books including Visions of the Past: The Challenge of Film to Our Idea of History, and two volumes of History on Film, Film on History. These books outline new criteria that can be used to analyze film media that are less about fact and more about representation. 30 Historians Christopher Tyerman and Jonathan Riley-Smith discuss the preaching of the crusades and the different motivations that people had to leave for Jerusalem. Tyerman goes on to suggest that the ambiguity of the original message by Urban allowed for people in power to later call on crusader Knights to fight against political and religious rivals that had nothing to do with Jerusalem. Christopher Tyerman, Fighting For Christendom: Holy War and the Crusades (Oxford University Press, 2004), 5. 31 Robert Rosenstone, History on Film/Film on History, (United Kingdom: Pearson Education Limited, 2006, 2012), 186.

18 their usefulness has expanded to offer value beyond whether or not the history presented is

“good” or “bad.”

The idea that films can relate humanity and experience and translate themes that are not easily expressed through written word is the idea behind this thesis and the reason that multiple films are used within The Final Cut. By utilizing multiple films, as well as film clips, abstract themes of the crusades help visualize and reinforce the written source materials. The design of

The Final Cut has taken into consideration the current pedagogical practices on the crusades as outlined above and has looked at how films have previously been incorporated into the classroom. This information led to the decision to adjust how films were being used, to include them in a more substantial role. The approach to The Final Cut is demonstrated in the next section of this paper titled “Teaching The Final Cut”.

Teaching The Final Cut

It is my intention to further advance the use of films within the history classroom by building a complete upper division history class on the crusades that integrates historical dramas as supplemental material throughout the semester. The crusades as a topic has a far-reaching audience, not only in the academic world but in the film industry as well. This section of the thesis will review the class I have created, titled Medieval Crusades: The Final Cut, which employs an innovative use of historical dramas within the learning process based on

Rosenstone’s theories. To be clear, this class is not about film analysis. The class is about the crusades in the eleventh through the thirteenth century and the larger historical significance of those events. The class will focus on various themes, including: changing patterns in religiosity

(e.g. the impact of indulgences and preaching in the popularity of these campaigns); the church leaders who promoted these campaigns and the motivations of those who participated in them);

19 medieval debates surrounding the nature and legitimacy of the crusades; and the socio-economic and political realities influencing the course of all these events. My goal when using films is to enhance the student connection to the themes I focus on when teaching the crusades, to close the temporal gap, and to visually demonstrate the concepts and themes related through the written sources. Rosenstone states that “[t]o change the medium of history from the page to the screen, to add image, sound, colour, movement, and drama, is to alter the way we read, see, perceive, and think about the past….Its truths are metaphoric and symbolic, not literal.”32 The thematic approach of The Final Cut capitalizes on the nuance and symbolism that film provides to historical events.

One theme that the students will look for is the significance placed on vows during the taking of the cross. There is a popular understanding of the crusades as a military campaign against Islam but Christians who took the cross included men, women, children, and the elderly.33 Taking the cross was a sign of individuals and “collective campaigns” of pilgrims from every social class who left for Jerusalem and tried to live an ascetic lifestyle. 34 Through the evolution of the campaigns, monasticism took on a new, military role with the creation of the military orders. These Milites Christi (soldiers of God), like the Templars, Hospitallers, and

Teutonic Knights, took the traditional monastic vows of celibacy, poverty, and obedience. But

32 Robert Rosenstone, History on Film/ Film on History (New York: Pearson Education Limited, 2012), 186. 33 Jonathan Riley-Smith, The First Crusade and the Idea of Crusading (Pennsylvania: University of Pennsylvania Press, 2009). In his book, Riley-Smith discusses the monastic values and themes of the first crusade. Riley-Smith notes that the beliefs and practices of the lay population that left on the first crusade, and the crusade of 1101, solidified the belief that God commanded the victories or defeats of the Christians based on their actions. If the Christians were sinful they would be defeated, whereas if they followed their monastic vows, they would be successful. These beliefs were solidified with the capture of Jerusalem in 1099 and the failed campaign of 1101. 34 William Purkis, Crusading Spirituality in the Holy Land and Iberia (Pennsylvania: University of Pennsylvania Press, 2009). Purkis demonstrates the significance of vows and the monastic lifestyle that was a core practice of those in the twelfth century. The devotion of early crusade leaders such as Bernard of Clairvaux helped to establish the origins of crusading ideology as a pilgrimage in the model of Christ and the apostles.

20 rather than focus on prayer, they fought against the enemies of the Christian faith. In his book

Crusaders and Crusading in the Twelfth Century, Historian Giles Constable discusses this evolution. Meanwhile, the films Crusaders by Dominique Othenin-Girard and Soldier of God by

W.D. Hogan are good examples of the progression from individual pilgrims who took vows, to the vows that were taken to be a part of the military orders.35 While Crusaders demonstrates the journey of the pilgrim, Soldier of God showcases the vows of the Knight Templars. The film

Soldier of God traces the life of a Templar Knight named René who was captured during the

Battle of Hattin (1187), was held for ransom, and then escaped into the desert.36 The film relays the value placed on Templar vows and the monastic lifestyle that they lived as seen through the practices of René throughout the film. When being cared for by a Muslim woman he states that he eats “bread, water, and sometimes meat.”37 This relates to the monastic vows that were taken as a Templar. Although more traditional vows did not allow the eating of meat, the Templars were usually allowed meat three times a week due to the need for strength as part of a military order.38 The film also relates the struggle of celibacy through the continued sexual tension between Renè and his host Soheila. This tension demonstrates the dedication and struggle for that lifestyle, highlighting the value held for the vows that were the cornerstone of a sincere

Templar Knight.

35 Giles Constable, Crusaders and Crusading in the Twelfth Century (Routledge, 2016). In his book, Constable notes that those early missions to Jerusalem were neither organized or militarily focused stating that the word crucesignatus – signed by the cross – was not widely used to describe crusaders until the thirteenth century. Those who participated in early campaigns were considered pilgrims. They took monastic vows and lived an ascetic lifestyle. Constable then gets into the military orders and the vows of the Knights Templar asserting that they were armed monks. 36 Thomas Madden, The Concise History of the Crusades (New York: Rowman and Littlefield, 2013), 76. Thomas Madden discusses the fate of the Templar soldiers after the battle at the Horns of Hattin. Where most were killed, those that survived were ransomed for their freedom or sold into slavery. 37 Soldier of God, directed by W.D. Hogan (2005; Los Angeles, CA: The Anabasis Group), DVD. 38 William Purkis, Crusading Spirituality in the Holy Land and Iberia (Pennsylvania: University of Pennsylvania Press, 2009), 175.

Students will also be looking for themes relating to power and politics within the written sources and the films. After the defeat of the Christians in the Second Crusade, with Saladin gaining control of Jerusalem on October 2nd, 1187, the Christians in the east called to the

European kings for aid.39 Europe at this point was immersed with their own internal conflicts as

King Henry II of England was dealing with a rebellious son in Richard the I and a war with King

Philip II Augustus of France. Upon Henry’s death, the squabbles between England and France continued with his son Richard I now in power. Even though the European kings eventually brokered a truce so that they could leave on crusade, Philip would leave the campaign before they reached Jerusalem. Philip left the campaign to lead his armies against England while

Richard was still in the Middle East.40 This is just a small example of what was going on in

Europe during the Third Crusade. Due to the complexities between the fighting in Europe and the Middle East, the film King Richard and the Crusaders will help to clarify the different loyalties and ambitions of the European kings. Scenes of France colluding against Richard the

Lionheart and infighting between European armies about how to proceed on to Jerusalem after the capture of Acre are good examples of how chaotic the events surrounding the Third Crusade actually were.

When looking past the Third Crusade in the last weeks of The Final Cut, we see a shift in focus away from Jerusalem among the crusading campaigns.41 In 1296, once both kings were back in Europe, King Edward I of England and Philip IV of France had started taxing churches

“without papal permission” to fund their military campaigns against each other.42 Although the

39 Thomas Madden, The Concise History of the Crusades (New York: Rowman & Littlefield, 2013), 76-77. 40 Thomas Madden, The Concise History of the Crusades (New York: Rowman & Littlefield, 2013), 85. 41 See Appendix 1 for the detailed outline and weekly schedule of Medieval Crusades: The Final Cut syllabus. 42 Tomaž Mastnak, Crusading Peace: Christendom, the Muslim World, and Western Political Order (Berkeley, Calif.: University of California Press, 2002), 234.

22 pretext for this tax was a crusade campaign to Jerusalem, the funds were spent in the war between England and France. Pope Boniface VIII acted as peace maker to try and get the campaign to Jerusalem back on track, but tensions escalated quickly.43 By the late thirteenth century the popular support for crusade campaigns was waning and, although Philip “took the cross” and planned to go on campaign, he never actually left for Jerusalem. The weakened position of the church throughout Europe allowed Philip to take another drastic measure against papal authority in the suppression of the Templar Knights and the confiscation of their property.44 The order of the Knights Templar, although starting as a small band of armed pilgrims intended to guard Christians on their way to Jerusalem, had become a massive military force aligned with the church rather than the state. Looking at a clip from Knightfall, we can see the conflict between Boniface and Philip. Philip is even introduced as “the most Christian King” which is what Philip required his subjects to call him.45 There is discussion of Philip’s aggression against the Templars and the Unam sanctum. Film clips like this are used to visually express tension, conflict, and humanity of situations that might otherwise be lost through the written sources.

The film clips are shown during lecture to reinforce the topic of that day or week with an instructor led discussion on thematic analysis. The instructor demonstrates what to look for when watching films and how it can relate back to the course materials. For example, relic veneration

43 For more detail on the feud between Philip and Boniface, see Tomaž Mastnak, Crusading Peace: Christendom, the Muslim World, and Western Political Order (Berkeley, Calif.: University of California Press, 2002). Here Mastnak outlines the taxes levied on church officials, the orders of Boniface to disobey the King, the Unam sanctum, and the capture and the eventual death of Boniface. 44 It is suggested that the financial situation of France was partially responsible for the aggression against the wealthy Templars in France. See Nicholson, Helen, Crawford, Paul F., and Burgtorf, Jochen, The Debate on the Trial of the Templars 1307-1314 (Farnham: Routledge, 2010). 45 It is stated that Philip was the “first King of France to require his subjects to address him regularly as the “most Christian King”. Tomaž Mastnak, Crusading Peace: Christendom, the Muslim World, and Western Political Order (Berkeley, Calif.: University of California Press, 2002) 244.

23 is seen in clips from the film Arn: The Knight Templar and is demonstrated through the readings in week three. 46 All the films, whether used for clips or viewed in full, are specifically chosen for their contribution to the understanding of the weekly themes as presented through the written sources. Instructor guidance in film analysis is important so that students understand the restrictions of the medium. Although films do have moments of “accuracy”, there are several areas where editorializing or altering the past is added to the production. Films go through edits in script writing, direction, acting, soundtrack, lighting, and set design/ location among others.

Films are not to be used without the supporting written materials, even with an understanding of the medium’s drawbacks to historical accuracy, because the context will be lost, and the goal of

The Final Cut will not be achieved.

Assignments: Goals and Procedures

The subject of the crusades is complex and nuanced, and the goal of The Final Cut is to approach the topic with methods that reinforce abstract themes and ideals. The students will be responsible for three at home writing assignments related to the written primary source documents that are assigned weekly. Along with weekly readings, the writing assignments in the first half of The Final Cut are designed both to foster growth of analysis, writing, and comprehension skills, as well as to facilitate an easy transition to the more detailed work that is required later in the semester. The students need a solid understanding of how to write a scholarly history paper so that when they begin their film analysis paper, they understand what information they are looking for and how they should organize it.

46 See Appendix 1 page five. The reading for that week includes Raymond of Aguilers: The Discovery of the Holy Lance pg. 116-120 from the primary source reader by Jay Rubenstein.

The first written assignment will be due the third week of class. By this point, the background of the crusades has been addressed, and the course coverage will be well into the

First Crusade. The assignment is to take one of the primary sources assigned for that week and write an opening paragraph that includes the following information:

1: Who wrote the source? 2: What is the source? 3: When and where was the source

produced? 4: Who is the audience for the source? 5: What is a historical insight of the

source?

By learning how to locate the pertinent information and present that information properly in a scholarly paper, students will better understand how important background information is to the understanding of history. Waiting until week three to assign the first writing analysis allows for the opportunity for in class examples from the instructor and possible group work where the students can practice and get feedback before the actual assignment.

The second writing assignment is due the following week and chronologically follows the first. After completing the opening paragraph assignment, students will learn how to create a body paragraph. Utilizing a primary source for that week, the students will come up with an historical insight and then write a paragraph for the body of the paper that gives evidence from the source to support their argument. This assignment prepares students to validate their historical insight with proof from the source.

The third writing assignment combines the first two into a one-page paper. Additionally, students will be required to write a complete two-page primary source analysis paper on a source from The First Crusade: A Brief History with Documents by Jay Rubenstein. Although the students are not utilizing films yet, the assignments allow the students to work on the skills that

25 are needed to write a scholarly essay, whether that be for a film or for a written source. The first three writing assignments are worth a combined ten percent of their final grade while the primary source paper is worth fifteen percent of their final grade. The primary source paper must be written on a source that was not covered in class. This will act as a guide to determine the condition of their analytical skills before moving on to the more ambiguous task of using film as evidence.

There will be several films that the class will be required to watch in their entirety:

Soldier of God (2005) directed by W.D. Hogan; Arn: The Knight Templar (2007) directed by

Peter Flinth; Kingdom of Heaven (2005) directed by Ridley Scott; and Crusaders (2005) directed by Dominique Othenin-Girard. Each film will be watched outside of class so that class time can be spent in discussion and analysis of each film as they relate to the written sources. The first film that the students will watch will be Soldier of God in week four. By week four the class will have gone through the background information, the campaign of the First Crusade, and will be starting the Second Crusade and the introduction to the military orders. The second film the students will watch will be Arn: The Knight Templar in week seven once the students have taken the midterm. Waiting three weeks to view the second full film allows for more content to be covered and more in class discussion using film clips.47 After the final exam, the students will watch Kingdom of Heaven in week thirteen. This will be the film that is used in class as an example for how to complete their film analysis paper. The final film that the students are

47 Neither the midterm nor the final exam will include information about the films. These exams will be on class content only as a measure of how well the students are retaining the scholarly materials. By waiting until post midterm and post final to view films again allows for the students to focus on studying and alleviates extra stress concerning the inclusion of films.

26 required to watch is Crusaders. This film will not be discussed in class as it is the film the students will use to complete their final paper.48

Film Analysis Paper

The film analysis paper for The Final Cut is designed more like a research paper than a full film analysis. The students will all be watching the same film and looking for evidence related to themes that were covered in class throughout the semester. The film that is assigned for this paper is Crusaders, an Italian film produced by Lux Vid and directed by Dominique

Othenin-Girard. The film centers around three men and their different paths throughout their journey to Jerusalem and back home. This film was chosen because of the innumerable features of medieval crusading portrayed throughout, including, but not limited to, different reasons people left on crusade, veneration of relics in battle, celestial phenomenon relating to God’s will, pilgrimage, religious coexistence within Jerusalem, and the importance of vows. Each student will have to find what they believe to be a representation of a significant crusade theme and then explain why they believe the film is a good representation of that theme by giving supporting evidence from written source materials. An example would be to discuss the three different men and why each one left for crusade. Although they left together as friends, each man had their own purpose and justification for leaving. One of the men left for religious clarity as a pilgrim; another left because he was a skilled fighter who believed the campaign to Jerusalem would afford him an opportunity to advance socially through the military; and the third man left because he had no financial prospects in his town and needed to improve his economic standing to marry the woman he loves.

48 The film Crusaders and the assignment are both outlined later in this paper under the heading “Film Analysis Paper”.

Once the students have watched the film and identified a theme, they will then do research to find written source materials that substantiate their claim. While the students can use the materials that were covered in class, they must also include a separate source from a list of scholarly monographs and primary sources. Continuing with the example above, the student who wishes to relate the different crusader motivations would choose one source from the list and their other written evidence would be found within the materials that were covered during the first few weeks of class.49 An example from the list would be The First Crusade and the Idea of

Crusading by Jonathan Riley-Smith, where he discusses the different motivations for those who left on crusade. This paper will act as a gauge of how well the students followed the material and if the use of the films within the class helped them recognize more ambiguous ideals of the crusades. This is a five-page paper, providing ample space to analyze all three required source materials. This paper should include why the topic is historically significant and how the film contributes to the understanding of that theme. This is the crux of The Final Cut class and will determine how successful the concept of this thesis is.

49 Jonathan Riley-Smith, “The State of Mind of Crusaders to the East” in The Oxford Illustrated History of the Crusades, ed. Jonathan Riley-Smith (Ney York: Oxford University Press, 1995), 75-81.

Conclusion

This thesis advocates for a different pedagogical approach to teaching the crusades at the postsecondary education level using historical dramas and film clips. In The Final Cut, a university level history course, film supplements traditional documentary sources in the hopes of fostering a more empathetic learning environment that promotes student learning. Rather than focus solely on these films’ historical accuracy, attention is focused on facilitating student comprehension of the crusading movement, its ideals, and principle themes. The benefits of using film are in the nuance and visualization the medium provides rather than the comparison for historical accuracy. Although films are increasingly used in the teaching of history, there is still a room for innovation in their employment.

Robert Rosenstone’s theories offer historians an innovative approach to using films to enhance critical learning skills among students. Rosenstone alters the criteria of analysis to adjust for the history being presented through film instead of written text, allowing films more latitude for issues including compression, invention, and singular plotlines. The alternative criterium creates the possibility for films to illustrate abstract themes and enhance the understanding of nuance within history. The approach to The Final Cut creates an opportunity for the historical drama to take a larger role in the postsecondary history classroom. Popular dramatic films on the crusades continue to shape ideas about the medieval world including the crusades. For these reasons, it is imperative that historians take full advantage of the film medium to facilitate a positive correlation of the popular and scholarly understanding of history.

Appendix

1: Medieval Crusades: The Final Cut Syllabus

Medieval Crusades: The Final Cut Professor Edie Yeoman Mon, Wed, Fri 10:30 – 11:45

Course Outline and Description In 1095 Pope Urban II gave his well-known speech at Claremont that launched the first crusade. Although this was not the first instance of justified warfare, this is considered to be the start of the crusades that arguably lasted for centuries and spanned several world regions. Papal dispensation created opportunities to call crusades against political and religious opponents including Muslims, heretics, Jews, and even other Christians. The timeline for this class will start in 1095 with Pope Urban II and his call for the first crusade, and end at the end of the XIII century. This timeline was chosen because the films that portray the crusades focus on crusading in the eleventh through the thirteenth centuries. This class will be working on traditional source analysis and writing but will also include analysis of films (historical dramas). In conjunction with primary and secondary source analysis, this class will utilize historical dramas to reinforce themes and abstract ideas related to medieval crusading such as relic veneration, the importance of vows, crusader motivations and more. This class will be lecture, discussion, and analysis based. Assignments include weekly readings, several homework assignments within the first few weeks, a primary source analysis paper, a final paper utilizing the historical drama Crusaders, in class map quizzes, and an in-class midterm and final that will all be a part of the final grade.

Readings: Every week you will have readings from the textbook [Thomas Madden] and the source reader [Jay Rubenstein] (or a primary source provided through your online section). The readings need to be completed before the day they are on the syllabus as the discussion for that day will include those readings. If you don’t do the readings, you will not be able to fully participate in the class which will negatively impact your overall grade. Thomas F. Madden, The Concise History of the Crusades 3rd ed. Rowman & Littlefield, 2013. Jay Rubenstein, The First Crusade: A Brief History with Documents, Bedford/St. Martin’s, 2015. Jonathan Riley-Smith. The Oxford Illustrated History of the Crusades, Oxford University Press, 1995. (might offer though my copy as pdf)

Films: You will be required to watch the following films in their entirety. Some clips from other films will be shown in class but you will not be responsible for viewing them as a whole. Required films will be made available online through your Course Website and can be viewed online only. No download will be available.

Soldier of God. Directed by W.D. Hogan. Los Angeles: The Anabasis Group, 2005. Arn: The Knight Templar. Directed by Peter Flinth. Sweden: Svensk Filmindustri, 2007. Kingdom of Heaven. Directed by Ridley Scott. Los Angeles: Twentieth Century Fox, 2005. Crusaders. Produced by Lux Vide. Italy: Ammo Content, 2005.

Student Learning Outcomes: Students will be expected to: 1. Analyze primary source documents in relation to secondary source materials (secondary sources include the textbook and films). 2. Think and write critically about larger themes related to crusades as presented through lecture and source materials. 3. Understand geography as related to crusades including location of important cities, different crusade routes, and area of Christian control in the Levant as it changes over time. 4. Communicate ideas orally in source analysis discussion. 5. Analyze a historical drama for abstract concepts and larger themes as related to crusades. By the end of the semester, students will be able to analyze primary and secondary sources for larger themes as related through lecture. They will be able to view historical dramas and analyze their importance for abstract themes and concepts as related to source materials on the crusades; moreover, students will be able to articulate how historical dramas add to a more comprehensive understanding of the crusades. Assignments and Exams: Throughout the semester you will be graded on participation, attendance, and homework that will combine to count as 20% of your overall grade. The homework is designed to enhance your analytical skills to help you do better on your papers. You will be given two map quizzes that will be taken in the first ten minutes of class and will consist of relevant medieval locations. You have a primary source analysis paper and a film analysis paper where you will analyze The Crusaders for a theme that we covered in class and use primary sources along with your textbook for evidence. You will have the option to rewrite one of your papers for a better grade. You will also have an in-class midterm and final that will consist of three ID’s in short answer form and an essay (about two pages written).

All Homework must be typed, 12pt. font, double spaced, with a header of your name, class, date, and assignment. Failure to meet formatting requirements will result in a 0. Homework is graded on a 1-5 scale with 5 being 100% and 1 being “come see me in office hours”.

Grading Breakdown: Class Participation/attendance 5% Homework 10% Map Quizzes 5% Paper 1: Source Analysis 15% Paper 2: Film Analysis 20% Midterm: 20% Final: 25%

Source Papers You are responsible for two papers in this class. Each paper will be due in hardy copy at the beginning of class on the due date. No late papers will be accepted. Your first paper is a primary source analysis. You will choose from a list of primary sources provided by me and will analyze the document for crusading themes that have been discussed in class. Your second paper is a film analysis paper. Every student will be using the same film provided by me. You will analyze the film for crusading themes as related to the class using the film, your textbook, and primary sources. There are paper guidelines with further instructions available on your course website.

Week 1: Syllabus/ Background of Holy War/ What constitutes a Crusade Mon: Introduction to course. Lecture on crusade historiography/ what is a crusade Readings: Syllabus, Jonathan Riley-Smith Introduction xxix-xxxiii (provided on course website),

Wed: Continue lecture on What is a Crusade, background of Holy War and Jihad Readings: Madden Preface up to The Council of Clairmont pg. vii – 7. Rubenstein Introduction pg. 1-4

Fri: The Call to Crusade/ Pope Urban and the introduction of indulgences Readings: Madden The Council of Clairmont pg. 7-9. Rubenstein The Call to Crusade pg. 9 – 14.

Week 2: The First Crusade: Indulgences, Preaching, and Crusader Motivations Mon: Indulgences and the change of Holy War: Taking the Cross Readings: Madden Crusade and Pilgrimage and Crusader Motivations pg. 9-13, Rubenstein Robert the Monk pg. 63 – 66, Guibert of Nogent pg. 66 – 68

Wed: Preaching, Pilgrimage, and Vows: The Makeup up the First Crusaders Readings: Madden The First Crusade: The People’s Crusade and Anti-Jewish Programs pg. 15 – 19, Riley-Smith Promotion and Preaching Simon Lloyd in Oxford Illustrated History pg. 44 – 48, Rubenstein Albert of Aachen pg. 69-70, The Rosenfeld Annals pg. 71-72, …Takes the Cross pg. 72-74.

Fri: The Franks and the Turks: Tensions and Perspectives Readings: Madden To Constantinople pg. 19-23, Rubenstein The Crusaders at Constantinople: A Latin Perspective pg. 86-89, Anna Comnena Describes the Crusaders at Constantinople pg. 91-93.

Week 3: The First Crusade Continued: Battles and Beliefs Mon: From Constantinople to Nicaea: The Beginnings of the First Crusade

Readings: Madden From Constantinople to Antioch pg. 23-32, Riley-Smith The Crusading Movement by Simon Lloyd in Oxford Illustrated History pg. 34 – 36, Rubenstein The Crusade and Constantinople pg. 14-16, Count Stephen of Blois pg. 94-96. Wed: Antioch and the way to Jerusalem: The Use of Celestial Phenomenon. Readings: Madden From Antioch to Jerusalem pg. 30-32, Rubenstein Ekkehard of Aura pg. 75- 77, The Fall of Antioch 107-110, Fulcher of Chartres 115-116. Fri: The Rise of the Latin Kingdom of Jerusalem: Relics, God, and the Holy War. Readings: Madden The Rise of The Latin Kingdom of Jerusalem pg. 35-39, Rubenstein Ibn Al- Athir pg. 110-112, Raymond of Aguilers: The Discovery of the Holy Lance pg. 116-120, Raymond of Aguilers: The Holy Lance on Trial pg.128-134, Raymond of Aguilers: The Battle for Jerusalem pg. 145-147.

Week 4: The Second Crusade and The Latin East: Consolidation for Future Crusades? Mon: Politics and the Rule of the Christians: Life in Jerusalem Readings: Madden Consolidation in the North pg. 39-46, 48-50, MSB Latin Kings of Jerusalem, The Latins in the East, The Fall of Edessa Wed: The Fall of Edessa and the Second Crusade Readings: Madden The Second Crusade pg. 50-59, MSB Summons to A Crusade, The Fiasco at Damascus, Apologia for the Second Crusade, A Hostile View of the Crusades Fri: The Rise of Military Orders Readings: Madden The Military Orders pg. 46-48, MSB The Foundation of the Knights Templar FILM: Soldier of God

Week 5: The Fall of the Christian Hold Over the East Mon: Changing Tides and Infighting Readings: Madden The Decline of the Latin Kingdom of Jerusalem and the Third Crusade pg. 61-64, The Reign of the Leper King pg. 70-72, MSB Latin Disarray: 5 – 7, The Decline of Christian Power in the Holy Land Wed: Egypt and the Crusades Readings: Madden The Lure of Egypt pg. 64-66 MSB Egypt in the Twelfth Century, Revolution in Egypt

Fri: The Rise of Saladin Readings: Madden The Rise of Saladin pg. 66-70, The Horns of Hattin pg. 72-77, MSB Ernoul: The Battle of Hattin, Capture of Jerusalem by Saladin 1187, Letter from the East to the Master of the Hospitallers

Week 6: Calling the Third Crusade: The Height of the Crusading Movement Mon: Pope Gregory and the Kings of Europe Readings: Madden Calling the Third Crusade pg. 77-92, MSB Letter(s) of Pope Gregory VIII, PRIMARY SOURCE PAPER DUE AT START OF CLASS Wed: Battle Strategies and Diplomacy of the Third Crusade Readings: MSB The Siege and Capture of Acre 1191, Muslim Hostages Slain at Acre 1191, Richard the Lionheart Makes Peace with Saladin Fri: Catchup Lecture / Midterm Review Readings: None.

Week 7: MIDTERM / Changing the face of Crusading Mon: Midterm Wed: The Fourth Crusade and the Changing Focus Readings: Madden The Fourth Crusade (ch. 5) pg. 93-114, MSB The Sac of Constantinople Fri: Film review and discussion: I will be showing you how to review a film for your second paper Film: ARN The Knight Templar

Week 8: What is a Crusade: Changing Priorities in the West Mon: Crusades in Europe: The Albigensian Crusade and Political Crusades Readings: Madden 115-134, MSB Evolution of Crusading Privileges #2, 4-7 Wed: Crusades in Europe Continued Readings: none Fri: The Fifth Crusade and Frederick II Readings: Madden 135-153, MSB Frederick II in the Holy Land

Week 9: A Decline in Crusading Mon: The Crusades of St. Louis Readings: Madden 155-172 Wed: The Fall of the Crusader States: Crusading in the Fourteenth Century Readings: Madden 173-195 Fri: Film Clip Day! Going through the films we have seen and other clips to review content to this point.

Week 10: The Legacy of Crusading Mon: Legacy of the Crusades Readings: Madden 197-209 (ch. 10 and conclusion) Wed: Contemporary Crusades Readings: Jonathan Riley-Smith “Revival and Survival” in The Oxford Illustrated History of the Crusades (available through pdf) Fri: Lecture catch up

Week 11: Final Exam Week not cumulative Mon: Review for final exam Wed: NO CLASS… STUDY! Fri: FINAL EXAM!

Week 12: Film Review and Paper Guidelines Mon: Film Analysis Wed: Paper Practice/ Peer Review Assignment: Opening paragraph with thesis statement for this week’s film Fri: Group discussions: Secondary Analysis of Film. Going over Mondays work FILM: King Richard and the Crusaders

Week 13: Film Review and Paper Guidelines Mon: review for final paper Wed: Practice Paper/ Peer Review Assignment: Body Paragraph with evidence and analysis for a thesis Fri: NO CLASS FILM: Kingdom of Heaven

Week 14: More Film Reviews: FILM ANALYSIS PAPER DUE Mon: Film Analysis discussion on any of the films watched to this point (not including Crusaders) FILM ANALYSIS PAPER DUE AT START OF CLASS Wed: Group Analysis/ In class assignment Fri: No Class

Week 15: NO CLASS (this week of no classes is transferable to whenever the semesters holiday falls There is also room within the last few weeks that are cushion for lectures that fall behind. If I need to push back the Final Exam to make sure that we have covered everything, there is time.) Mon: Wed: Fri:

Week 16: Class Wrap-up/ Paper Rewrite Due Mon: Review of What Constitutes a Crusade, In Class Assignment: do you think the crusades have ended? Explain your answer with evidence Wed: Review of Class Methods and Retention

In Class Assignment: What was your overall impression of the strategies this class used to teach the crusades? What are the top three takeaways from this class that you learned about the crusades? Fri: PAPER REWRITE DUE

Due Dates:

2: Guidelines for Final Film Analysis Paper

Guidelines for Film Analysis Paper

For your second paper, you will analyze the film Crusaders that has been provided through your course website. Utilizing written materials that were presented in class and one extra source on the list provided, you are going to analyze the film for historical representations that were discussed throughout the semester. You must use a minimum of two different source materials, and one must be a primary source. This means if you use your textbook for information then you must use a primary source that was not covered in class. Alternatively, if you use a primary source that was covered in class, you must use outside scholarly materials from the provided list instead of information from your textbooks. Using the film and your text materials, you will come up with a historical significance that is important to the comprehension of the crusades. Use the syllabus and weekly topics for inspiration. Although you will need a historical significance for this paper, the crux of your argument is what the film adds to your chosen topic. What does the film provide that your written sources leave out or are less successful with? After you have decided on your topic (you may only write on one topic), you can start your research for the paper. Wikipedia does not count as a source for this paper!! You will need to utilize multiple source materials for your analysis. 1: Scholarly source (your textbook or outside research from the list) 2: Primary sources 3: the film Crusaders. Although you only have to use one of each source, you may use more if you feel it helps your paper. Your paper must include quoted evidence from your written sources that must be cited. You may use whatever citation style you like but you MUST BE CONSISTENT. Choose one style and use it throughout the paper. The film citations should also come with a time stamp for easy review.

Paper Requirements 1. 1,200 words (approximately 5 pages)

2. Double-spaced, 12pt. font, Times New Roman with proper headings (name, class, date,

title). Incorrectly formatted papers will not be accepted.

3. An analysis for historical significance AND usefulness of the film concerning that

significance.

4. Utilization of written secondary and primary sources, and the film including quotations

with proper citations.

5. An introductory paragraph that outlines your historical insight.

6. A complete bibliography (because you are using multiple sources).

7. A hard copy due at the start of class on the due date AND a digital copy uploaded to the

course website 30 minutes BEFORE CLASS starts on the due date.

Your paper needs to be well researched and your argument must be supported with sufficient evidence. If you are having trouble or have any questions, please feel free to visit with me in office hours or make an appointment with the writing lab.

Bibliography

Filmography Arn: The Knight Templar. Directed by Peter Flinth. Sweden: Svensk Filmindustri, 2007.

Crusaders. Directed by Dominique Othenin-Girard. Italy: Ammo Content, 2005.

El Cid. Directed by Anthony Mann. Italy, USA: Samuel Bronston Productions, 1961.

Indiana Jones and the Last Crusade. Directed by Steven Spielberg. USA: Paramount Pictures

and Lucasfilm, 1989.

Ironclad. Directed by Jonathan English. UK, USA: Mythic International Entertainment, 2011.

King Richard and the Crusaders. Directed by David Butler and Oren W. Haglund. Los Angeles:

Warner Bros., 1954.

Knightfall. Created by Don Handfield and Richard Rayner. USA: A+E Studios, 2017.

Lionheart. Directed by Franklin J. Schaffner. Los Angeles: Orion Pictures, 1987.

Monty Python and the Holy Grail. Directed by Terry Gilliam and Terry Jones. UK: Michael

White Productions, 1975.

Robin Hood: Prince of Thieves. Directed by Kevin Reynolds. Los Angeles: Warner Brothers,

1991.

Soldier of God. Directed by W.D. Hogan. Los Angeles: The Anabasis Group, 2005.

The Golden Horde. Directed by George Sherman. USA: Universal International Pictures, 1951.

The High Crusade. Directed by Claus Knoesel and Holger Neuhauser. Germany: Carolco

Pictures, 1994.

Kingdom of Heaven. Directed by Ridley Scott. Los Angeles: Twentieth Century Fox, 2005.

Crusade Historiography

Asbridge, Thomas. The First Crusade: A New History. New York: Oxford University Press, 2004. Berry, Virginia. “Review of La Chrétienté et l’Idée de Croisade by Paul Alphandéry and Alphonse Dupront.” Speculum 37, no. 1 (1962): 90-91. Barber, Malcolm. The New Knighthood: A History of the Order of the Templars. New York: Cambridge University Press, 1994. Brundage, James. Medieval Canon Law and the Crusader. Madison: University of Wisconsin Press, 1996. Cole, Penny. The Preaching of the Crusades to the Holy Land, 1095-1270. Cambridge: Medieval Academy of America, 1991. Constable, Giles. Crusaders and Crusading in the Twelfth Century. Routledge Ltd., 2016. Constable, Giles. “The Second Crusade as Seen by Contemporaries.” Tradito 9, (1953): 213-279. Duncalf, Frederic. “Review of Histoire des Croisades et du Royaume franc de Jerusalem by Rene Grousset.” The American Historical Review 41, no. 1 (1935): 124-126. Erdmann, Carl. The Origin of the Idea of Crusade. New Jersey: Princeton University Press, 1977. Hamilton, Bernard. The Leper King and His Heirs: Baldwin IV and the Crusader Kingdom of Jerusalem. New York: Cambridge University Press, 2000. Housely, Norman. The Italian Crusades: The Papal-Angevin Alliance and the Crusades Against Christian Lay Powers, 1254-1343. New York: Oxford University Press, 1982. Jordan, William. Louis IX and the Challenge of the Crusade: A Study in Rulership. New York: Princeton University Press, 1979.

Kedar, Benjamin. Crusade and Mission: European Approaches Toward the Muslims. Princeton: Princeton University Press, 2014.

Lilie, Ralph-Johannes. Byzantium and the Crusader States, 1096-1204. New York: Oxford University Press, 1988 Dana C. Munro, "Urban and the Crusaders", Translations and Reprints from the Original Sources of European History, Vol 1:2, (Philadelphia: University of Pennsylvania, 1895), 5-8 Mastnak, Tomaž. Crusading Peace: Christendom, the Muslim World, and Western Political Order. Berkeley, Calif.: University of California Press, 2002.

Munro, Dana. The Kingdom of the Crusaders. New York: Kennikat Press, 1966.

Nicholson, Helen, Crawford, Paul F., and Burgtorf, Jochen. The Debate on the Trial of the Templars (1307-1314). Farnham: Routledge, 2010. O’Callaghan, Joseph. Reconquest and Crusade in Medieval Spain. Philadelphia: University of Pennsylvania Press, 2003. Peg, Mark. A Most Holy War: The Albigensian Crusade and the Battle for Christendom. New York: Oxford University Press, 2008. Phillips, Jonathan. The Fourth Crusade and the Sack of Constantinople. New York: Penguin Books, 2005 Purkis, William. Crusading Spirituality in the Holy Land and Iberia. New York: Boydell Press, 2008 Prawer, Joshua. The Latin Kingdom of Jerusalem: European Colonialism in the Middle Ages. London: Weidenfeld and Nicolson, 1972. Riley-Smith, Jonathan. The First Crusade and the Idea of Crusading. Pennsylvania: University of Pennsylvania Press, 2009. Riley-Smith, Jonathan. The Knights of St. John in Jerusalem and Cyprus. New York: St. Martins Publishing, 1967. Runciman, Steve. A History of the Crusades. New York: Cambridge University Press, 1987. Setton, Kenneth. A History of the Crusades 2nd ed. Madison: University of Wisconsin Press, 1989 Setton, Kenneth. The Papacy and the Levant: Volume 1-4. Philadelphia American Philosophical Society, 1976. Siberry, Elizabeth. Criticism of Crusading, 1095-1274. New York: Oxford University Press, 1985. Siberry, Elizabeth. The New Crusaders: Images of the Crusaders in the Nineteenth and Early Twentieth Centuries. Routledge Ltd., 2016. Tyerman, Christopher. Fighting for Christendom: Holy War and the Crusades. New York: Oxford University Press, 2004. Tyerman, Christopher. The Debate on the Crusades. New York: Manchester University Press, 2011. Tyerman, Christopher. The Invention of the Crusades. Buffalo: University of Toronto Press, 1998.

Medievalism and History on Film

Aberth, John. A Knight at the Movies: Medieval History on Film. New York: Routledge, 2003. Bergstrom, Aren. “Medievalism as Modern: The Historical Accuracy of Kingdom of Heaven.” Three Brothers Film. February 20, 2012. https://3brothersfilm.com/blog/2012/02/medieval-as-modern-the-historical-accuracy-of- kingdom-of-heaven Finke, Laurie, and Martin Shichtman. Cinematic Illuminations: The Middle Ages on Film. Baltimore: Johns Hopkins University Press, 2010. Francaviglia, Richard and Jerry Rodnitzky. Lights, Camera, History: Portraying the Past in Film. Texas: Texas A&M University Press, 2007. Ganim, John. “Reversing the Crusades: Hegemony, Orientalism, and Film Language in Youssef Chahine’s Saladin.” In Race, Class and Gender in “Medieval” Cinema, edited by Lynn T. Ramey and Tison Pugh, 45-58. New York: Palgrave Macmillan, 2007. Harty, Kevin J., The Holy Grail on Film: Essays on the Cinematic Quest. North Carolina: McFarland & Co., 2015. Haydock, Nicholas and E.L. Risden. Hollywood in the Holy Land: Essays on Film Depictions of the Crusades and Christian-Muslim Clashes. North Carolina: McFarland and Company, 2009. Hughes-Warrington, Marnie. History Goes to the Movies: Studying History on Film. London; New York: Routledge, 2007. Kracauer, Siegfried. The Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press, 1960. Lindley, Arthur. “Once, Present, and Future Kings: Kingdom of Heaven and the Multitemporality of Medieval Film.” In Race, Class and Gender in “Medieval” Cinema, edited by Lynn T. Ramey and Tison Pugh, 15-31. New York: Palgrave Macmillan, 2007. McCrathy, Mary. “History. Hollywood, and the Crusades.” Thesis at the University of Houston, May 2013. Risden, E.L. “Nobody but the Other Buddy: Hollywood, The Crusades, and Buddy Pictures.” In Hollywood in the Holy Land: Essays on Film Depictions of the Crusades and Christian- Muslim Clashes, edited by Nicholas Haydock and E.L. Risden, 186-199. North Carolina: McFarland & Company, Inc., Publishers, 2009. Rosenstone, Robert. History on Film/Film on History. New York: Pearson, 2012. Rosenstone, Robert. “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film”. American Historical Review 93, no. 5 (1988) 1173 – 1188.

Stock, Lorraine. “Now Starring in the Third Crusade: Depictions of Richard I and Saladin in Films and Televisions Series.” In Hollywood in the Holy Land: Essays on Film Depictions of the Crusades and Christian-Muslim Clashes, edited by Nicholas Haydock and E.L. Risden, 97-122. North Carolina: McFarland & Company, Inc., Publishers, 2009.

Using Film to Teach History Blake, John. "Why Film Deserves a Starring Role in History." Times Educational Supplement, no. 5115 (2014): 42-43. Duverge, Christine. "Madame De Maintenon's Image in Patricia Mazuy's Saint-Cyr: Teaching History through Film". (Pedagogy)." The French Review 81, no. 2 (2007): 302. Fletcher, Ian Christopher. "Film and History." Radical History Review 83, no. 83 (2002): 173- 97. Hayes, Dawn M. “Harnessing the Potential in Historiography and Popular Culture When Teaching the Crusades.” The History Teacher 40, no. 3 (2007): 349 - 361 Jones, Thomas. “The Good, the (not so) Bad, and the Ugly: Using “Historical” Movies with Adult Learners in the American History Classroom.” Film & History: An Interdisciplinary Journal of Film and Television Studies 19, no. 4 (1989): 74-86. Marcus, Alan, and Darling-Hammond, Linda. “Celluloid Blackboard: Teacher Practices with Film and Students' Historical Understanding”. 2003, ProQuest Dissertations and Theses. Metzger, Scott Alan. “Pedagogy and the Historical Feature Film: Toward Historical Literacy.” Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 2 (2007): 67-75. Metzger, Scott Alan. "The Kingdom of Heaven: Teaching the Crusades." Social Education 69, no. 5 (2005): 256. Schul, James E. "Film Pedagogy in the History Classroom: Desktop Documentary-Making Skills for History Teachers and Students." The Social Studies 105, no. 1 (2014): 15-22. Sprau, Ryan and Larry Keig. “I Saw It in The Movies: Suggestions for Incorporating Film and Experiential Learning in the College History Survey Course.” College Student Journal 35, no. 1 (2001): 101. Stoddard, Jeremy D. "Film as a "Thoughtful" Medium for Teaching History." Learning, Media and Technology 37, no. 3 (2012): 271-88. Stoddard, Jeremy and Alan S. Marcus. “More Than ‘Showing What Happened’: Exploring the Potential of Teaching History with Film.” The High School Journal 93, no. 2 (2010): 83- 90.

“Theatrical Market Statistics 2018.” Motion Picture Association of America, Inc. Accessed September 4, 2019. https://www.motionpictures.org/wp-ontent/uploads/2019/03/MPAA- THEME-Report-2018.pdf White, Rodney. “How Thematic Teaching Can Transform History Instruction.” Clearing House: A Journal of Educational Strategies, Issues, and Ideas 68 no. 3 (1995): 160-162. Williams, Tara. “Multimedia Learning Gets Medieval.” Pedagogy 9, no. 1 (2009): 77-95.