For Further Reading
Prologue
David Herlihy’s essay, entitled, “Am I a Camera? Other Reflections on Films and History,” was published in American Historical Review 93 (1988): 1186-92. Another important essay in the AHR Forum was Robert Rosenstone’s "History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film," AHR 93 (1988): 1173—85. There are several other collections of scholarly essays and books that explore the general relationship between film and history: P. Sorlin, The Film in History: Restaging the Past (Oxford: Blackwell, 1980); M. Ferro, Cinema and History, trans. N. Greene (Detroit: Wayne State University Press, 1988); Resisting Images: Essays on Cinema and History, eds. R. Sklar and C. Musser (Philadelphia: Temple University Press, 1990); Image as Artifact: The Historical Analysis of Film and Television, ed. J.E. O’Connor (Malabar, FL: Krieger Publishing, 1990); L. Grindon, Shadows on the Past: Studies in the Historical Fiction Film (Philadelphia: Temple University Press, 1990); R.A. Rosenstone, Visions of the Past: The Challenge of Film to Our Idea of History (Cambridge, MA: Harvard University Press, 1995); The Persistence of History: Cinema, Television, and the Modern Event, ed. V. Sobchack (New York: Routledge, 1996); Screening the Past: Film and the Representation of History, ed. T. Barta (Westport, CT: Praeger, 1998). A book that is more accessible to the general public is George MacDonald Fraser, The Hollywood History of the World: From One Million Years B.C. to Apocalypse Now (New York: Beech Tree Books, 1988). Although entertaining, this work, by a former Hollywood screenwriter and author of the infamous “Flashman” series, seems more concerned with matching stars to their characters' portraits than with history. Readers are better advised to consult: Past Imperfect: History according to the Movies, ed. T. Mico, J. Miller-Monzon, and D. Rubel (New York: Henry Holt, 1996), and Joseph Roquemore, History Goes to the Movies (New York: Doubleday, 1999), both of which have a few chapters on medieval films.
For a more scholastic definition of “medievalism" than the one I provide here, see J. Simons, “Medievalism as Cultural Process in Pre-industrial Popular Literature," in Medievalism in England II, ed. L.J. Workman and K. Verduin (Studies in Medievalism, VII, Cambridge: D. S. Brewer, 1996). Simons applies medievalism to popular English literature from the sixteenth through to the eighteenth centuries, and indeed, the vast majority of scholarly work on medievalism, especially as it pertains to the movies, has been done by literature professors rather than historians. Useful catalogues of all the films ever made on a medieval topic have been compiled by: K. J. Harty, The Reel Middle Ages: American, Western and Eastern European, Middle Eastern and Asian Films about Medieval Europe (Jefferson, NC: McFarland, 1999); and D.J. Williams, "Medieval Movies: A Filmography," Film and History 29 (1999):20-32.
The Holy Grail of Hollywood : King Arthur Films
There are more books about Arthurian films than perhaps about any other medieval film genre. Some good collections containing perceptive essays on the subject include: King Arthur through the Ages, 2 vols., ed. V.M. Lagorio and M.L. Day (New York: Garland Publishing, 1990); Cinema Arthuriana: Essays on Arthurian Film, ed. K.J. Harty (New York: Garland Publishing, 1991); Popular Arthurian Traditions, ed. S.K. Slocum (Bowling Green, OH: Bowling Green State University Popular Press, 1992); King Arthur on Film: New Essays on Arthurian Cinema, ed. K.J. Harty (Jefferson, NC: McFarland, 1999). Rebecca and Samuel Umland’s The Use of Arthurian Legend in Hollywood Film: From Connecticut Yankees to Fisher Kings (Westport, CT: Greenwood Press, is too enamored of postmodernist jargon to be accessible to a general audience. The most authoritative filmography of movies with an Arthurian theme is Bert Olson’s Arthurian Legends on Film and Television (Jefferson, NC: McFarland, 2000).
My main source on the historical and mythological Arthur was Norris J. Lacy and Geoffrey Ashe, The Arthurian Handbook, 2nd ed. (New York: Garland Publishing, 1997). Also exploring various aspects of Arthuriana is King Arthur in Popular Culture, eds. Elizabeth S. Sklar and Donald L. Hoffman (Jefferson, NC: McFarland, 2002), which includes a section on television and film. N.J. Higham, King Arthur: Myth-Making and History (London and New York: Routledge, 2002) provides an excellent discussion of the historical context of the making of Arthur’s legend in Britain during the early and high Middle Ages. A sensational treatment of Arthur’s history is Graham Phillips and Martin Keatman, King Arthur: The True Story (London: Arrow, 1992). The edition of Malory’s Le Morte D’Arthur that I have quoted in this chapter is from the edition by Eugene Vinaver, The Works of Sir Thomas Malory, 3 vols. (Oxford: Clarendon Press, 1947). For scholarly studies of Malory’s life and work, readers should consult: E. Reiss, Sir Thomas Malory (New York: Twayne, 1966); P.J.C. Field, The Life and Times of Sir Thomas Malory (Cambridge: D. S. Brewer, 1993); and A Companion to Malory, ed. E. Archibald and A.S.G. Edwards (Woodbridge, Suffolk: D. S. Brewer, 1996).
Lights! Camera! Lillage!: Viking Films
An accessible, recent reassessment of Viking scholarship is The Oxford Illustrated History of the Vikings, ed. Peter Sawyer (Oxford: Oxford University Press, 1997). Other works well worth reading include: Johannes Brøndsted, The Vikings, trans. K. Skov (Harmondsworth, Middlesex: Penguin, 1960); P.H. Sawyer, The Age of the Vikings (London, 1962); Gwyn Jones, A History of the Vikings (Oxford, 1968); Peter Foote and David M. Wilson, The Viking Achievement: The Society and Culture of Early Medieval Scandinavia (London: E. Arnold, 1970); The Vikings, ed. R.T. Farrell (London: Phillimore, 1982); P.H. Sawyer, Kings and Vikings: Scandinavia and Europe, A.D. 700—1100 (London and New York: Methuen, 1982); Judith Jesch, Women in the Viking Age (Woodbridge, Suffolk: Boydell, 1991); Else Roesdahl, The Vikings, trans. S.M. Margeson and K. Williams, 2nd ed. (Harmondsworth, Middlesex: Penguin, 1991); John Marsden, The Fury of the Northmen: Saints, Shrines and Sea-Raiders in the Viking Age, A.D. 793-878 (New York: St. Martin's Press, 1993); and Henry Loyn, The Vikings in Britain (Oxford: Blackwell, 1994).
The two most authoritative, and recent, biographies on Alfred the Great are: Alfred P. Smyth, King Alfred the Great (Oxford: Oxford University Press, 1995), and Richard Abels, Alfred the Great: War, Kingship and Culture in Anglo-Saxon England (London and New York: Longman, 1988). I used the following sources on Alfred: The Anglo-Saxon Chronicle, ed. D. Whitelock (New Brunswick, NJ: Rutgers University Press, 1961); and. Alfred the Great, trans. S. Keynes and M. Lapidge (Harmondsworth, Middlesex: Penguin, 1983).
Valuable insights into Viking movies were gained by consulting Tony Thomas, The Films of Kirk Douglas (Secaucus, NJ: Citadel Press, 1972); Derek Elley, The Epic Film: Myth and History (London: Routledge, 1984); Allan Hunter, Tony Curtis: The Man and bis Movies (New York: St. Martin’s Press, 1985); Gary A. Smith, Epic Films: Casts, Credits and Commentary on Over 250 Historical Spectacle Movies (Jefferson, NC: McFarland, 1991).
God (and the Studio) Wills h!: Grasade Films
Standard textbooks on the history of the medieval crusades include: Jonathan Riley-Smith, The Crusades: A Short History (New Haven: Yale University Press, 1987); Hans Eberhard Mayer, The Crusades, 2nd ed., trans. John Gillingham (Oxford: Oxford University Press, 1988); Jean Richard, The Crusades, c. 1071-c.1291, trans. Jean Birrell (Cambridge: Cambridge University Press, 1999); Thomas F. Madden, A Concise History of the Crusades (Lanham, MD: Rowman and Littlefield, 1999); The Oxford History of the Crusades, ed. Jonathan Riley-Smith (Oxford: Oxford University Press, 1998); and The Crusades: The Essential Readings, ed. Thomas F. Madden (Oxford: Blackwell, 2002). The formerly revered, three-volume work by Steven Runciman, A History of the Crusades (Cambridge: Cambridge University Press, 1951—1954) is now outdated. Good collections of primary sources about the crusades are to be had in: James A. Brundage, The Crusades: A Documentary Survey (Milwaukee, WI: Marquette University Press, 1962); Chronicles of the Crusades: Eye-Witness Accounts of the Wars between Christianity and Islam, ed. Elizabeth Hallam (New York: Welcome Rain, 1999); and Arab Historians of the Crusades, trans. Francesco Gabrieli and E.J. Costello (Berkeley: University of California Press, 1969). For a history of the crusades from the Arab point of view, readers should consult: Carole Hillenbrand, The Crusades: Islamic Perspectives (New York: Routledge, 1999), which is much more reliable than the popular book by Amin Maalouf, The Crusades through Arab Eyes (New York: Schocken Books, 1984). An adequate history of the Teutonic Knights can be found in Desmond Seward, The Monks of War: The Military Religious Orders (Harmondsworth, Middlesex: Viking Penguin, 1972), and a revisionist history of Alexander Nevsky is to be had in John Fennell, The Crisis of Medieval Russia, 1200—1304 (London and New York: Longman, 1983). On the Cid and 11th-century Spain under Alfonso VI, see: Ramón Menéndez Pidal, The Cid and His Spain, trans. H. Sunderland (London: Frank Cass, 1934); José Fradejas Lebrero, El Cid (Ceuta: Instituto Nacional de Enseñanza Media, 1962); Richard Fletcher, The Quest for El Cid (New York: Knopf, 1990); and Bernard F. Reilly, The Kingdom of Léon-Castilia under King Alfonso VI, 1065—1109 (Princeton: Princeton University Press, 1988). There are two useful collections of documentary sources on the Cid: Christians and Moors in Spain, eds. Colin Smith, Charles Melville, and Ahmad ‘Ubaydli, 3 vols. (Warminster, UK: Aris and Phillips, 1988—92); and The World of El Cid: Chronicles of the Spanish Reconquest, trans. Simon Barton and Richard Fletcher (Manchester: Manchester University Press, 2000). Debate concerning the dating of the Poema de Mia Cid is summed up in: Derek W. Lomax, "The Date of the ‘Poema de Mio Cid”' in “Mio Cid” Studies, ed. A.D. Deyermond (London: Támesis Books, 1977); and Colin Smith, The Making of the Poema de Mia Cid (Cambridge: Cambridge University Press, 1983). Readers should also consult María Eugenia Lacarra, El Poema de Mio Cid: Realidad Histórka e Ideología (Madrid: J. Porrúa Turanzas, 1980).
My interview with Charlton Heston was conducted at his home in Beverly Hills on October 18, 1999. Other personal memoirs that proved useful for this chapter include Cecil B. DeMille, The Autobiography of Cecil B. DeMille, ed. Donald Hayne (New York: Garland, 1959); Sergei M. Eisenstein, Notes of a Film Director (New York: Dover, 1970); Sergei M. Eisenstein, Immoral Memories: An Autobiography, trans. Herbert Marshall (Boston: Houghton Mifflin, 1983); Charlton Heston, The Actor’s Life: Journals, 1956—1976, ed. H. Alpert (New York: E. P. Dutton, 1978); and Charlton Heston, In the Arena: An Autobiography (New York: Simon and Schuster, 1995). Selections of Eisenstein’s other writings on the cinema include: Sergei M. Eisenstein, S. M. Eisenstein: Selected Works, eds. and trans. Richard Taylor and William Powell, 3 vols. (London: British Film Institute, 1988—96); and The Eisenstein Reader, eds. and trans. Richard Taylor and William Powell (London: British Film Institute, 1998).
Among the numerous biographies and filmographies of Eisenstein, readers should consult: Ion Barna, Eisenstein (Bloomington, IN: Indiana University Press, 1973); Norman Swallow, Eueiutein: A Documentary Portrait (London: Dutton, 1976); Marie Seton, Sergei M. Eisenstein: A Biography (London: Dobson, 1978); Jay Leyda and Zina Voynow, Eueiutein at Work (New York: Pantheon Books, 1982); James Goodwin, Eisenstein, Cinema, and History (Urbana, IL: University of Illinois Press, 1993); David Bordwell, The Cinema of Eisenstein (Cambridge, MA: Harvard University Press, 1993); and Ronald Bergan, Eisenstein: A Life in Conflict (Woodstock, NY: Overlook Press, 1997). Two important essay collections that have recently appeared about Eisenstein are: Eisenstein Rediscovered, eds. Ian Christie and Richard Taylor (London and New York: Routledge, 1993), and Eisenstein at 100: A Reconsideration, eds. Al La Valley and Bariy P. Scherr (New Brunswick, N.J.: Rutgers University Press, 2001), with an essay by Scherr, “Alexander Nevsky: Film without a Hero.” A good explanation of Eisenstein’s theoretical ideas, based on his original lectures, is Vladimir B. Nizhny, Lessons with Eisenstein, trans. and eds. Ivor Montague and Jay Leyda (New York: Hill and Wang, 1962). Also useful are general works on the Soviet and East European film industry: Michael Jon Stoil, Cinema Beyond the Danube: The Camera and Politics (Metuchen, NJ: Scarecrow Press, 1974); Jay Leyda, Kino: A History of the Russian and Soviet Film, 3rd ed. (Princeton: Princeton University Press, 1983); and R. Taylor, Film Propaganda: Soviet Riusia and Nazi Germany, 2nd rev. ed. (London and New York: I.B. Tauris, 1998). A comparable work for the Spanish film industry is Peter Besas, Behind the Spanish Lens: Spanish Cinema under Fascism and Democracy (Denver, CO: Arden Press, 1985). The film script of Alexander Nevsky is available in Sergei M. Eisenstein, Classic Film Scripts: October and Alexander Nevsky, ed. Jay Leyda and trans. D. Matias (London: Lorrimer, 1984). Franz Hoellermg’s review of Alexander Nevsky is reprinted in American Film Criticism: From the Beginnings to Citizen Kane, eds. Stanley Kauffmann and Bruce Henstell (Westport, CT: Greenwood, 1979). For the life and work of Leni Riefenstahl, see: Glenn B. Infield, Leni Riefenstahl: The Fallen Film Goddess (New York: Crowell, 1976); David B. Hinton, The Films of Leni Riefenstahl (Metuchen, NJ: Scarecrow Press, 1978); and Renata Berg-Pan, Leni Riefenstabl (Boston: Twayne, 1980). Readers may also want to consult the English translation of Riefenstahl’s memoirs: Leni Riefenstahl, Sieve of Time: The Memoirs of Leni Riefeiutahl (London: Quartet Books, 1992).
Commentaries on epic films such as The Crusades and El Cid are to be found in: Tony Thomas, The Great Adventure Films (Secaucus, NJ: Citadel Press, 1976); Jeffrey Richards, Swordsmen of the Screen: From Douglas Fairbanks to Michael York (London: Routledge, 1977); Mike Munn, The Stories Behind the Scenes of the Great Film Epics (Watford, UK: Illustrated Publications, 1982); Steve Neale, “Masculinity as Spectacle: Reflections on Men and Mainstream Cinema,” Screen 24 (1983): 2—16; Derek Elley, The Epic Film: Myth and History (London: Routledge, 1984); Baird Searles, EPIC! History on the Big Screen (New York: Harry N. Abrams, 1990); Gary A. Smith, Epic Films: Casts, Credits and Commentary on over 250 Historical Spectacle Movies (Jefferson, NC: McFarland, 1991); Leon Hunt, “What are Big Boys Made of? Spartacus, El Cid and the Male Epic,” in You Tarzan: Masculinity, Movies and Men, eds. P. Kirkham and J. Thumim (New York: St. Martin’s Press, 1993); and P. Lucanio, With Fire and Sword: Italian Spectacles on American Screens, 1958-1968 (Metuchen, NJ: Scarecrow Press, 1994). Other useful insights into El Cid can be gleaned from: Alexander Paal, William Schneider and James Poling, The Making of El Cid (Madrid: The Campeador Press, 1962); Jeff Rovin, The Films of Charlton Heston (Secaucus, NJ: Citadel Press, 1977); and J. Basinger, Anthony Mann (Boston: Twayne, 1979).
The political background on Egypt, Nasser, and the Suez Crisis around the time of the making of Saladin is available in: Egypt and Nasser: Volume 1:1952-56, ed. Dan Hofstadter (New York: Facts on File, 1973); Nissim Rejwan, Nasserist Ideology: Its Exponents and Critics (New York: Wiley, 1974); Donald Neff, Warriors at Suez: Eisenhower Takes America into the Middle East (New York: Linden, 1981); Suez 1956: The Crisis and its Consequences, eds. W.M. Roger Louis and Roger Owen (Oxford: Clarendon Press, 1989); The Suez—Sinai Crisu: 1956 Retrospective and Reappraisal, eds. Selwyn Ilan Troen and Moshe Shemesh (London: Frank Cass, 1990): and Peter Woodward, Nasser (London and New York: Longman, 1992). The standard accounts of the Great Famine and the Great Terror in the Soviet Union under Stalin are by Robert Conquest, The Harvest of Sorrow: Soviet Collectivization and the Terror-Famine (New York: Oxford University Press, 1986), and The Great Terror: A Reassessment (New York: Oxford University Press, 1990); in addition, see Paul Johnson, Modern Times: The World from the Twenties to the Eighties (New York: Harper and Row, 1983). On the Spanish Civil War and the career of Francisco Franco, two good works in English are: Burnett Bolloten, The Spanish Civil War: Revolution and Counterrevolution (Chapel Hill, NC: University of North Carolina Press, 1991); and Paul Preston, Franco: A Biography (New York: Basic Books, 1994). The modern political context of El Cid can also be studied in light of the career and historiography of the film’s advisor, Menéndez Pidal. See: María Eugenia Lacarra, “La Utilización del Cid de Menéndez Pidal en la Ideología Militar Franquista, ” Ideologies and Literature 3 (1980): 95-127; and Steven Hess, Ramón Menéndez Pidal (Boston: Twayne, 1982).
Splendid in Spandex: Robin Hood Films
An indispensable collection of articles on the literary, historical, and cinematic aspects of Robin Hood is Robin Hood: An Anthology of Scholarship and Criticism, ed. Stephen Knight (Woodbridge, Suffolk: D.S. Brewer, 1999). See also Stephen Knight’s Robin Hood: A Complete Study of the English Outlaw (Oxford: Blackwell, 1994), and "A Garland of Robin Hood Films,” Film and History 29 (1999):34—44. Another important study of the Robin Hood ballads and games is Jeffrey L. Singman, Robin Hood: The Shaping of the Legend (Wesport, CT: Greenwood, 1998). An excellent survey of Robin Hood films is Scott Allen Nollen, Robin Hood: A Cinematic History of the English Outlaw and his Scottish Counterparts (Jefferson, NC: McFarland, 1999); but see also David Turner, Robin of the Movies (Kingswinford, UK: Yeoman, 1989). Other essential reading, especially on the historical issues associated with Robin Hood’s legend, are James C. Holt, Robin Hood, 2nd rev. ed. (London: Thames and Hudson, 1989); Maurice Keen, The Outlaws of Medieval Legend, rev. ed. (London and New York: Routledge, 1987); and John Bellamy, Robin Hood: An Historical Enquiry (London: Croom Helm, 1985). A sensationalist treatment of Robin Hood history is Graham Phillips and Martin Keatman, Robin Hood: The Man Behind the Myth (London: O' Mara, 1995). Two articles on real-life medieval criminal bands analogous to Robin Hood's are E.L.G. Stones, “The Folvilles of Ashby-Folville, Leicestershire, and their Associates in Crime, 1326–1347,” Transactions of the Royal Historical Society, 5th ser. 7 (1957): 117–136; and John Bellamy, “The Coterel Gang: An Anatomy of a Band of Fourteenth-Century Criminals,” English Historical Review 79 (1964):698–717. Printed texts of the original Robin Hood ballads and garlands are available in R.B. Dobson and John Taylor, Rymes of Robyn Hood: An Introduction to the English Outlaw, rev. ed. (Stroud: Sutton, Gloucestershire, 1997). Dobson and Taylor’s lengthy introduction considerably updates their original essay, “The Medieval Origins of the Robin Hood Legend: A Reassessment, ” Northern History 7 (1972): 1–30.
There are plenty of other publications on the subject, but I include only the most useful. Robin Hood movies are discussed in the following film surveys: Tony Thomas, The Great Adventure Films (Secaucus, NJ: Citadel, 1976); James Robert Parish and Don E. Stanke, The Swashbucklers, ed. T. Allen Taylor (New Rochelle, NY: Arlington House, 1976); Jeffrey Richards, Swordsmen of the Screen: From Douglas Fairbanks to Michael York (London: Routledge, 1977); Rudy Behlmer, America’ s Favorite Movies: Behind the Scenes (New York: F. Ungar, 1982); Jeriy Vermilye, The Films of the Thirties (Secaucus, NJ: Citadel Press, 1982). There are also a number of biographies of movie stars and directors that discuss their Robin Hood films: Ralph Hancock and Letitia Fairbanks, Douglas Fairbanks: The Fourth Musketeer (New York: Holt, 1953); Tony Thomas, Rudy Behlmer, and Clifford McCarty, The Films of Errol Flynn (New York: Citadel Press, 1969); Peter Valenti, Errol Flynn: A Bio-Bibliography (Westport, CT: Greenwood, 1984); Tony Thomas, Errol Flynn: The Spy Who Never Was (New York: Carol, 1990); Tony Thomas, The Films of Olivia de Havilland (Secaucus, NJ: Citadel Press, 1983); Sidney Rosenzweig, Casablanca and Other Major Films of Michael Curtiz (Ann Arbor, MI: UMI Research Press, 1982); R. Kinnard and R.J. Vitone, The American Films of Michael Curtiz (Metuchen, NJ: Scarecrow Press, 1986); James C. Robertson, The Casablanca Man: The Cinema of Michael Curtiz (London and New York: Routledge, 1993); Robert Sellers, The Films of Sean Connery (New York: St. Martin’s Press, 1991); Andrew Yule, Sean Connery: From 007 to Hollywood Icon (New York: D. I. Fine, 1992); Alexander Walker, Audrey: Her Real Story (New York: St. Martin’s Press, 1995); Barry Paris, Audrey Hepburn (New York: Putnam, 1996); Neil Sinyard, The Films of Richard Lester (Totowa, NJ: Barnes and Noble, 1985); Todd Keith, Kevin Costner: The Unauthorized Biography (London: Ikonprint, 1991); Adrian Wright, Kevin Costner: A Life on Film (London: Robert Hale, 1992). Useful works on specific films include Garth Pearce, Robin Hood: Prince of Thieves. The Official Movie Book (New York: Mallard, 1991); Ina Rae Hark, “The Visual Politics of The Adventures of Robin Hood,” Journal of Popular Film 5 (1993): 3–17; and Verna Huiskamp, “Historical Approach: The Political Implications of The Adventures of Robin Hood," in An Introduction to Film Criticism: Major Critical Approaches to Narrative Film, eds. Tim Bywater and Thomas Sobchack (New York: Longman, 1989). Printed screenplays of The Adventures of Robin Hood and Robin and Marian are available in: The Adventures of Robin Hood, ed. Rudy Behlmer (Madison, WI: The University of Wisconsin Press, 1979); and James Goldman, Robin and Marian (New York: Bantam, 1976).
Welcome to the Apocalypse: Black Death Films
The most recent textbooks available on the Black Death include: John Aberth, From the Brink of the Apocalypse: Confronting Famine, War, Plague, and Death in the Later Middle Ages (New York: Routledge, 2000); Norman F. Cantor, In the Wake of the Plague: The Black Death and the World it Made (New York: Free Press, 2001); Samuel K. Cohn, Jr., The Black Death Transformed: Disease and Culture in Early Renaissance Europe (London and Oxford: Arnold and Oxford University Press, 2002). But some older works are still worth consulting: Philip Ziegler, The Black Death (New York: Harper and Row, 1971); The Black Death: A Turning Point in History?, ed. William M. Bowsky (New York: Holt, Rinehart and Winston, 1971); Jean Nöel Biraben, Les Homines et la Peste en France et dans les Pays Europeens et Méditerranéens. 2 vols. (Paris: Mouton, 1975–6); William H. McNeill, Plagues and Peoples (Garden City, NY: Anchor, 1976); Michael W. Dols, The Black Death in the Middle East (Princeton, NJ: Princeton University Press, 1977); The Black Death: The Impact of the Fourteenth-Century Plague, ed. Daniel William (Binghamton, NY: Center for Medieval and Early Renaissance Studies, 1982); Robert S. Gottfried, The Black Death: Natural and Human Disaster in Medieval Europe (New York: Free Press, 1983); and David Herlihy, The Black Death and the Transformation of the West, ed. Samuel K. Cohn, Jr. (Cambridge, MA: Harvard University Press, 1997). Good source books on the Black Death are: John Aberth, The Black Death: The Great Mortality of 1348 (New York: Bedford/St. Martin’s, forthcoming); and The Black Death, trans. and ed. Rosemaiy Horrox (Manchester: Manchester University Press, 1994). Two revered, but now demonstrated to be fundamentally flawed, analyses of European society during the time of the Black Death are: Johan Huizinga, The Waning of the Middle Ages: A Study of the Forms of Life, Thought and Art in France and the Netherlands in the Dawn of the Renaissance, trans. F. Hopman (London: E. Arnold, 1924); and James Westfall Thompson, “The Aftermath of the Black Death and the Aftermath of the Great War, ” American Journal of Sociology 26 (1920–1):565–572.
There are two major autobiographical works by Ingmar Bergman that have been translated into English: Ingmar Bergman, The Magic Lantern: An Autobiography, trans. Joan Tate (New York: Viking, 1988); and Ingmar Bergman, Images: My Life in Film, trans. Marianne Ruuth (New York: Arcade, 1994), which focuses on Bergman’s career as a film director. In addition, there is a collection of other writings by Bergman in Ingmar Bergman: An Artist’s Journey. On Stage, on Screen, in Print, ed. Roger W. Oliver (New York: Arcade, 1995). Also worth consulting are recorded interviews with Bergman: Bergman on Bergman: Interviews with Ingmar Bergman, eds. Stig Björkman, Torsten Manns, and Jonas Sima, and trans. Paul Britten Austin (New York: Simon and Schuster, 1973); and Talking with Ingmar Bergman, ed. G. William Jones (Dallas, TX: SMU Press, 1983).
There are, of course, many filmographies and biographies on Bergman, but among the most useful are: Jörn Donner, The Personal Vision of Ingmar Bergman (Bloomington, IN: Indiana University Press, 1964); Birgitta Steene, Ingmar Bergman (New York: Twayne, 1968); Arthur Gibson, The Silence of God: Creative Response to the Films of Ingmar Bergman (New York: Harper and Row, 1969); Robin Wood, Ingmar Bergman (New York: Praeger, 1969); Vernon Young, Cinema Borealis: Ingmar Bergman and the Swedish Ethos (New York: D. Lewis, 1971); Philip Mosley, Ingmar Bergman: The Cinema as Mistress (London and Boston: Marion Boyars, 1981); Peter Cowie, Ingmar Bergman: A Critical Biography (New York: Scribner, 1982); Charles B. Ketcham, The Influence of Existentialism on Ingmar Bergman: An Analysis of the Theological Ideas Shaping a Film-makers Art (Lewiston, NY: Edwin Mellen, 1986); Frank Gado, The Passion of Ingmar Bergman (Durham, NC: Duke University Press, 1986); Robert E. Lauder, God, Death, Art and Love: The Philosophical Visum of Ingmar Bergman (New York: Paulist Press, 1989); Hubert I. Cohen, Ingmar Bergman: The Art of Confession (New York: Twayne, 1993); Egil Törnqvist, Between Stage and Screen: Ingmar Bergman Directs (Amsterdam: Amsterdam University Press, 1995); and Marc Gervais, Ingmar Bergman: Magician and Prophet (Montreal: McGill-Oueen’s University Press, 1999). Works specifically devoted to The Seventh Seal include: Foetus on The Seventh Seal, ed. Birgitta Steene (Englewood Cliffs, NJ: Prentice Hall, 1972); and Peter Cowie, “Milieu and Texture in The Seventh Seal,” in The Classic Cinema: Essays in Criticism, ed. S.J. Solomon (New York: Harcourt, Brace, Jovanovich, 1973). I have used the official screenplay for all dialogue and stage direction quoted from The Seventh Seal in this chapter; it is available in Ingmar Bergman, Four Screenplays, trans. Lars Malmstrom and David Kushner (New York: Simon and Schuster, 1960). Bergman’s one-act play, Wood Painting, which served as the genesis for The Seventh Seal, is printed in an English translation in Theatre in the Twentieth Century: The Tulane Drama Review, ed. Robert W. Corrigan (New York: Grove Press, 1963).
By contrast, there is not much in print about The Navigator and Book of Days, but two articles that I have found useful are: Michael Wilmington, “Firestorm and Dry Ice: The Cinema of Vincent Ward,” Film Comment 20 (1993):51–54; and Joan Driscoll Lynch, “Book of Days: An Anthology of Monkwork,” Millennium Film Journal 23–24 (1990–1):38-47.
Movies and the Maid: Joan of Arc Films
The best general textbook on Joan of Arc is Régine Pernoud and Marie-Veronique Clin, Joan of Arc: Her Story, trans. Jeremy duQuesnay Adams (New York: St. Martin’s Press, 1999). Other works on Joan of Arc worth consulting include: Edward Lucie-Smith, Joan of Arc (London: Allen Lane, 1976); Frances Gies, Joan of Arc: The Legend and the Reality (New York: Harper & Row, 1981); and Karen Sullivan, The Interrogation of Joan of Arc (Minneapolis: University of Minnesota Press, 1999). The works by Marina Warner, Joan of Arc: The Image of Female Heroism (New York: Knopf, 1981); and Anne Llewellyn Barstow, Joan of Arc: Heretic, Mystic, Shaman (Lewiston, NY: Edward Mellen, 1986) are too skewed by feminist jargon and theory to be really useful. Mary Gordon’s popular biography, Joan of Arc (New York: Lipper/Viking, 2000) says nothing new about the historical Joan, but it does include a good discussion of Joan’s legacy in literature and on film. I have quoted from the following English translations of the transcripts of Joan’s condemnation and rehabilitation trials: The Trial of Joan of Arc: Being the Verbatim Report of the Proceedings from the Orleans Manuscript, ed. W.S. Scott (London: Folio Society, 1956); Régine Pernoud, Joan of Arc by Herself and Her Witnesses, trans. Edward Hyams (New York: Stein and Day, 1966); Régine Pernoud, The Retrial of Joan of Arc, trans. J.M. Cohen (New York: Harcourt, Brace, 1955), and reprinted in Joan of Arc: Fact, Legend, and Literature, eds. Wilfred T. Jewkes and Jerome B. Landfield (New York: Harcourt, Brace and World, 1964).
An important collection of articles on all aspects of Joan of Arc studies is Fresh Verdicts on Joan of Arc, eds. Bonnie Wheeler and Charles T. Wood (New York: Garland, 1996), which includes Kevin Harty’s survey of Joan of Arc films, “Jeanne au Cinéma”. For additional surveys of the Joan of Arc film genre, see: Robin Blaetz, “Strategies of Containment: Joan of Arc in Film” (Ph.D. diss., New York: New York University, 1989); Gerda Lerner, “Joan of Arc: Three Films,” in Past Imperfect: History According to the Movies, eds. Ted Mico, John Miller-Monzon, and David Rubel (New York: Henry Holt, 1995); Carina Yervasi, “The Faces of Joan: Cinematic Representations of Joan of Arc,” Film and History 29 (1999) :8–19; and Kathryn Norberg, “Joan on the Screen: Burned Again?” AHA Perspectives, 38/2 (February 2000): 1, 8–9. An exhaustive bibliography on Joan of Arc is Nadia Margolis, Joan of Arc in History, Literature, and Film (New York: Garland, 1990).
The following filmographies and biographies of Carl Theodor Dreyer contain extensive discussions of La Passion de Jeanne d’Arc: Ebbe Neergaard, Carl Dreyer: A Film Director’s Work, trans. Marianne Helweg (London: British Film Industries, 1950); Kirk Bond, “The World of Carl Dreyer,” Film Quarterly 19/1 (1965):26–38; Tom Milne, The Cinema of Carl Dreyer (New York: A. S. Barnes, 1971); Mark Nash, Dreyer (London: British Film Institute, 1977); and David Bordwell, The Films of Carl Theodor Dreyer (Berkeley: University of California Press, 1981). Other works specifically devoted to the Passion include: Ken Kelman, “Film as Poetry,” Film Culture 29 (1963):22–7; David Bordwell, Filmguide to La Passion de Jeanne d’Arc (Bloomington, IN: Indiana University Press, 1973); Roger Manvell, “Psychological Intensity in The Passion of Joan of Arc,” in The Classic Cinema: Essays in Criticism, ed. S.J. Solomon (New York: Harcout, Brace, Jovanovich, 1973); Tony Pipolo, “Metaphorical Structures in La Passion de Jeanne d’Arc,” Millennium Film Journal 19 (1987–8): 52–84; and Charles O’Brien, “Rethinking National Cinema: Dreyer’s La Passion de Jeanne d’Arc and the Academic Aesthetic,” Cinema Journal 35 (1996):3–30. An English translation of the screenplay for the Passion is available in Carl Theodor Dreyer, Four Screenplays (Bloomington, IN: Indiana University Press, 1970). Dreyer's own writings on abstraction and the Passion are reprinted in: Carl Theodor Dreyer, “Thoughts on My Craft,” in Film: A Montage of Theories, ed. Richard Dyer MacCann (New York: E. P. Dutton, 1966); and Carl Theodor Dreyer, Dreyer in Double Reflection, ed. Donald Skoller (New York: E. P. Dutton, 1973). Hélène Falconetti’s memoirs of her mother are in Falconetti (Paris: Editions du Cerf, 1987).
Useful works relating to other Joan of Arc films include: Cecil B. DeMille, The Autobiography of Cecil B. DeMille, ed. Donald Hayne (New York: Garland, 1985); Kevin J. Harty, “The Nazis, Joan of Arc, and Medievalism Gone Awry: Gustav Ucicky’s 1935 Film Dad Mädchen Johanna,” in Rationality and the Liberal Spirit: A Fedtdchrift Honoring Ira Lee Morgan (Shreveport, LA: Centenary College, 1997); Ingrid Bergman and Alan Burgess, Ingrid Bergman: My Story (New York: Delacort Press, 1980); Laurence Learner, As Time Goes By: The Life of Ingrid Bergman (New York: Harper and Row, 1986); Donald Spoto, Notorious: The Life of Ingrid Bergman (New York: HarperCollins, 1997); Gerald Pratley, The Cinema of Otto Preminger (London and New York: A. S. Barnes, 1971); Willi Frischauer, Behind the Scenes of Otto Preminger: An Unauthorised Biography (New York: Morrow, 1973); Otto Preminger, Preminger: An Autobiography (Garden City, N.Y.: Doubleday, 1977).
Afterword
Aside from my interview with Mr. Heston, insights about the making of The War Lord may also be obtained in the following works: Charlton Heston, The Actor’s Life: Journals, 1956–1976, ed. H. Alpert (New York: E.P. Dutton, 1978); Charlton Heston, In the Arena: An Autobiography (New York: Simon and Schuster, 1995); and Erwin Kim, Franklin J. Schaffner (Metuchen, N.J.: Scarecrow Press, 1985). I also benefitted from a conversation with Jeremy duQuesnay Adams at Southern Methodist University, who organized the AHA forum at which Heston appeared in Chicago in 1991. For historical background on the setting of the The War Lord, see David Nicholas, Medieval Flanders (London and New York: Longman, 1992).
Braveheart has received a lot of attention from film scholars in recent years. Two articles that are especially useful are: Colin McArthur, “Braveheart and the Scottish Aesthetic Dementia,” in Screening the Past: Film and the Repredentation of History, ed. Tony Barta (Westport, CT: Praeger, 1998); and Sid Ray, “Hunks, History and Homophobia: Masculinity Politics in Braveheart and Edward II,” Film and History, 29 (1999):22-31. John Boswell’s interpretation of medieval attitudes toward homosexuals in Christianity, Social Tolerance, and Homodexuality: Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century (Chicago: University of Chicago Press, 1980), is contested by Vern Bullough and James Brundage in their contributions to Sexual Practices and the Medieval Church, eds. Vern L. Bullough and James A. Brundage (Buffalo, N.Y.: Prometheus Books, 1982). The homosexual relationship between Edward II and Piers Gaveston is exhaustively analyzed and confirmed by J.S. Hamilton in Piers Gaveston, Earl of Cornwall, 1307–1312: Politics and Patronage in the Reign of Edward II (Detroit, MI.: Wayne State University Press, 1988). Pierre Chaplais’ attempt to “heterosexualize” their relationship in Piers Gaveston: Edward II’s Adoptive Brother (Oxford: Clarendon Press, 1994), has not found general support in the academic community.