tag:blogger.com,1999:blog-21873731322673995302024-03-13T23:47:53.699-04:00The Matter of Britain on Screen: A Spotlight on the World of King Arthur in Electronic MultimediaSponsored by The Alliance for the Promotion of Research on the Matter of Britain, the "Matter of Britain on Screen" blog is designed as an aid to explorations of the transformations undergone by the Matter of Britain as it is translated to film, television, and related electronic media, such as games and internet video.The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.comBlogger141125tag:blogger.com,1999:blog-2187373132267399530.post-34405783364012809242024-02-17T20:35:00.004-05:002024-02-17T20:35:24.195-05:00Aronstein and Finke on Mrs. Davis<p>From the latest <i>Arthuriana</i>:</p><p>Aronstein, Susan and Laurie Finke. Review of <i>Mrs. Davis</i>, by Tara Hernandez and Damon Lindelof. <i>Arthuriana</i>, vol. 33 no. 4, 2023, p. 68-70. <i>Project MUSE</i>, https://doi.org/10.1353/art.2023.a915339.</p><p><br /></p><p><br /></p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-87692723909258907272024-02-17T20:18:00.006-05:002024-02-17T20:18:58.616-05:00Narayanan on The Green Knight<p> From a recent issue of <i>Arthuriana</i>:</p><p>Narayanan, Tirumular (Drew). "'Why is He Indian?': Missed Opportunities for Discussing Race in David Lowery's <i>The Green Knight</i> (2021)." <i>Arthuriana</i>, vol. 33 no. 3, Fall 2023, p. 36-59. <i>Project MUSE</i>, <a href="https://doi.org/10.1353/art.2023.a910870">https://doi.org/10.1353/art.2023.a910870</a>.</p><p>Abstract:</p><p>This article explores the depiction of Gawain in <i>The Green Knight </i>(2021). Despite having cast Dev Patel in the starring role, the film avoids any substantive discussion of race in Camelot. By trading in optical diversity alone, it deploys BIPOC bodies without ever telling their stories. (TDN)</p><p><br /></p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-83412260081903112662023-01-08T23:48:00.009-05:002024-02-17T20:23:23.002-05:00Pugh on The Green KnightRecently published in <i>Arthuriana</i>. Copies are available by subscription or from <i>Project MUSE</i>, if you're lucky enough to have access.<br /><br /><br />Pugh, Tison. "Seminal Semiotics and Pornographic Displeasures in David Lowery’s <i>The Green Knight</i> (2021)." <i>Arthuriana</i>, vol. 32 no. 3, Fall 2022, pp. 41-57. <i>Project MUSE</i>, <a href="http://doi.org/10.1353/art.2022.0030">doi:10.1353/art.2022.0030</a>.<br /><br />Abstract:<br /><br />In <i>The Green Knight</i>, a cinematic adaptation of <i>Sir Gawain and the Green Knight</i>, director David Lowery includes a lingering shot of Gawain’s ejaculate. Lowery reframes this pornographic image as an alienating, rather than pleasureful, experience; in so doing, he probes similar themes concerning displeasure’s effects as the Gawain-Poet.<br /><br /><br /><br /><br />The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-53305550267992265022022-09-14T00:09:00.001-04:002022-09-14T00:09:09.530-04:00Harty on The Green Knight (Again)More from Kevin J. Harty on <i>The Green Knight</i>:<br /><br />Harty, Kevin J.. "Notes Towards a Close Reading of David Lowery’s 2021 Film <i>The Green Knight</i>." <i>Journal of the International Arthurian Society</i>, vol. 10, no. 1, 2022, pp. 29-51. <a href="https://doi.org/10.1515/jias-2022-0004">https://doi.org/10.1515/jias-2022-0004</a>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-10844813418128477252022-08-25T02:13:00.005-04:002022-08-25T02:20:06.033-04:00New and Recent from Arthuriana<p> From recent issues of <i>Arthuriana</i>: <br /><br />Aronstein, Susan and Taran Drummond. Review of <i>The Green Knight</i>, by David Lowery. <i>Arthuriana</i>, vol. 31 no. 3, 2021, p. 90-92. <i>Project MUSE</i>, <a href="https://doi.org/10.1353/art.2021.0030" target="_blank">doi:10.1353/art.2021.0030</a>.<br /><br />Francis, Christina. "<i>Babylon 5</i>, An Arthurian World in Space." <i>Arthuriana</i>, vol. 31 no. 3, 2021, p. 3-20. <i>Project MUSE</i>, <a href="https://doi.org/10.1353/art.2021.0023" target="_blank">doi:10.1353/art.2021.0023.<br /></a><br />Hughes, Shaun F.D. "Some Thoughts on <i>The Northman</i> (2022)." <i>Arthuriana</i>, vol. 32 no. 2, 2022, p. 89-101. <i>Project MUSE</i>, <a href="https://doi.org/10.1353/art.2022.0014" target="_blank">doi:10.1353/art.2022.0014</a>.<br /><br />Yri, Kirsten. Review of <i>From </i>Camelot <i>to </i>Spamalot<i>, Musical Retellings of Arthurian Legend on Stage and Screen</i>, by Megan Woller. <i>Arthuriana</i>, vol. 32 no. 2, 2022, p. 117-119. <i>Project MUSE</i>, <a href="https://doi.org/10.1353/art.2022.0023" target="_blank">doi:10.1353/art.2022.0023</a>.</p><p><br /></p>The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-77884335940264461502022-06-17T00:02:00.008-04:002022-06-17T00:05:52.881-04:00CFP Out With the Old, In With the New: Changing Trajectories in David Lowery’s The Green Knight (7/30/2022; SAMLA Jacksonville, FL 11/11-13/2022)<div style="text-align: left;"><i>This seemed worth cross-posting.</i></div><h2 style="text-align: left;">Out With the Old, In With the New: Changing Trajectories in David Lowery’s The Green Knight</h2><div><br /></div><div>source: <a href="https://call-for-papers.sas.upenn.edu/cfp/2022/06/06/out-with-the-old-in-with-the-new-changing-trajectories-in-david-lowery%E2%80%99s-the-green">https://call-for-papers.sas.upenn.edu/cfp/2022/06/06/out-with-the-old-in-with-the-new-changing-trajectories-in-david-lowery%E2%80%99s-the-green</a><br /><br />deadline for submissions: July 30, 2022<br /><br />full name / name of organization:<br />SAMLA: South Atlantic Modern Language Association<br /><br />contact email:<br /><a href="mailto:mcrofton@fit.edu">mcrofton@fit.edu</a><br /><br /><br /><br />For close to seven hundred years, Gawain has been a favorite hero in Arthurian myth, especially when it comes to his legendary accomplishments—and faults—in Gawain and the Green Knight. No matter how much readers may root for him in his quest with the Green Knight, many of us can’t help but wonder…what if? All of that changed with David Lowery’s 2021 film, The Green Knight, which presents viewers with an abundance of scenarios that many of us haven’t even anticipated. In doing so, Lowery has forever altered the way scholars approach the medieval poem. This panel seeks to explore some of the most powerful changes Lowery makes to the base text of Gawain and the Green Knight, and what we can learn about the importance—or dangers—of retelling popular stories in new and inventive ways. Please submit a 250 word abstract, a brief bio, and A/V requirements by July 30th to Melissa Crofton at <a href="mailto:mcrofton@fit.edu">mcrofton@fit.edu</a>.<br /><br /><br /><br />Last updated June 7, 2022</div><div><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-14887201635255802522021-08-12T23:26:00.004-04:002021-08-12T23:28:22.321-04:00The Green Knight Updates <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-UU9hADyaUI8/YRXlybGnMzI/AAAAAAAAAdg/myBCfbiWTiwl22AaHBH_kHbkvFYonUZJwCLcBGAsYHQ/s1366/GKStreaming.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="728" data-original-width="1366" height="171" src="https://1.bp.blogspot.com/-UU9hADyaUI8/YRXlybGnMzI/AAAAAAAAAdg/myBCfbiWTiwl22AaHBH_kHbkvFYonUZJwCLcBGAsYHQ/s320/GKStreaming.jpg" width="320" /></a></div>Two updates on <i>The Green Knight</i>:<p></p><p>First, Kevin J. Harty, Arthurian film expert <i>par excellence</i>, has provided <a href="https://medievallyspeaking.blogspot.com/2021/08/the-green-knight-dir-david-lowery-2021.html" target="_blank">a review of the film</a> (spoilers included) for the <i>Medievally Speaking</i> site. </p><p>Second, news broke recently of a one-night, online-screening event (at least in the US) for the film. The cost is $20 for a one-time viewing. More details are at the <a href="https://screeningroom.a24films.com/" target="_blank">A24 Screening Room website</a>. </p><p>Like many, I'd like to see (and own a copy of) the film; however, this option isn't an event I can support, especially assuming the home video version (whenever that releases) will be about the same price (or less). </p><p><br /></p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-82975380570756338832021-07-31T15:26:00.001-04:002021-08-12T23:28:22.322-04:00CFP The Green Knight (2021): Key Critical Perspectives (A Roundtable) (9/15/21; ICoMS Kalamazoo 5/9-14/2022)<p><i>From the ISSM listserv; posted on behalf of the organizers:</i></p><p><br /></p><p>Dear All,</p><p>Please see below a CFP for K’zoo 2022 on David Lowery’s new film (which I understand is now out in the US but sadly is not opening in the UK for another fortnight!).</p><p>Cheers,</p><p>Renée & Valerie</p><p><br /></p><p><b>CALL FOR PAPERS</b></p><h2 style="text-align: left;">The Green Knight (2021): Key Critical Perspectives (A Roundtable)</h2><p><br /></p><p>The International Society for the Study of Medievalism (ISSM) invites submissions for a sponsored roundtable on David Lowery’s film <i>The Green Knight</i> (2021) for the 57th International Congress on Medieval Studies, which will take place online from Monday 9 May to Saturday 14 May 2022.</p><p>This roundtable seeks participants to identify and discuss an element of Lowery’s long-anticipated film, starring Dev Patel. In short presentations (10 minutes), panelists are invited to consider an element of the film in light of a focal keyword inspired by <i>Medievalism: Key Critical Terms </i>(2014), including: archive, authenticity, authority, Christianity, co-disciplinarity, continuity, feast, gender, genealogy, gesture, gothic, heresy, humor, lingua, love, memory, middle, modernity, monument, myth, play, power, presentism, primitive, purity, race, reenactment, resonance, simulacrum, spectacle, transfer, trauma, and troubadour. </p><p><br /></p><p><b>Submissions of 250-300 WORDS should be made via the <a href="https://icms.confex.com/icms/2022am/cfp.cgi" target="_blank">Confex Online System</a> no later than Wednesday 15 September 2021. </b>This session is listed under “Session Selection: Roundtables.”</p><p><br /></p><p>Queries about the session can be sent to Valerie Johnson (<a href="mailto:vjohnso6@montevallo.edu">vjohnso6@montevallo.edu</a>) and/or Renée Ward (<a href="mailto:rward@lincoln.ac.uk">rward@lincoln.ac.uk</a>).</p><p><br /></p><p> </p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-80269806514807919242021-05-11T23:01:00.006-04:002021-05-11T23:04:30.832-04:00New Trailer for The Green Knight (2021)<p>The latest trailer for the upcoming film <i>The Green Knight</i> (2021) was released this week (just in time for Kalamazoo). It looks interesting (cool design for the Green Knight, for example), but I'm not sure how much of it is really true to the story of <i>Sir Gawain and the Green Knight</i>. We'll find out together this July, I guess.</p><p><br /></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/sS6ksY8xWCY" title="YouTube video player" width="560"></iframe>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-53026147513904953752021-01-27T21:54:00.004-05:002021-01-27T21:54:43.487-05:00New from Kevin J Harty<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0NKX9NVUHBI/YBInNc7GlrI/AAAAAAAAALc/OArpQtGVtLQ2xc693jVdViEIcEfzxSRYwCLcBGAsYHQ/s750/JBGVA-KJH.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="200" src="https://1.bp.blogspot.com/-0NKX9NVUHBI/YBInNc7GlrI/AAAAAAAAALc/OArpQtGVtLQ2xc693jVdViEIcEfzxSRYwCLcBGAsYHQ/w133-h200/JBGVA-KJH.jpg" width="133" /></a></div>I've been a bit slow catching up (again), but a recent number of <i>Arthuriana </i>includes an updated survey of Arthurian film by Kevin J. Harty. The full citation follows.<p></p><p>Harty, Kevin J. "James Bond, A Grifter, A Video Avatar, and a Shark Walk
into King Arthur's Court: The Ever-Expanding Canon of Cinema
Arthuriana." <i>Arthuriana</i>, vol. 30 no. 2, 2020, p. 89-121. </p><p>The essay can be accessed by researchers from <i>Project MUSE</i> at <a href="https://muse.jhu.edu/article/763924">https://muse.jhu.edu/article/763924</a>. <br /></p><p><br /></p>The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-62112321420059295862021-01-26T12:35:00.000-05:002021-01-26T12:35:07.026-05:00Sword and the Scoob Update<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-NQGKRxnB67c/YBBRlz9ZE3I/AAAAAAAAALE/vkSJD6oyHPwOhENq3RXhVwEpgdc7LZOZwCLcBGAsYHQ/s1000/SatS.webp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-NQGKRxnB67c/YBBRlz9ZE3I/AAAAAAAAALE/vkSJD6oyHPwOhENq3RXhVwEpgdc7LZOZwCLcBGAsYHQ/w320-h320/SatS.webp" width="320" /></a></div><p>Warner Bros. has updated the information on the home video release of <i>Scooby-Doo! The Sword and the Scoob</i>.</p><p><a href="https://www.wbshop.com/collections/movies-and-tv-pre-orders/products/scooby-doo-the-sword-and-the-scoob-dvd">https://www.wbshop.com/collections/movies-and-tv-pre-orders/products/scooby-doo-the-sword-and-the-scoob-dvd</a> <br /></p><p>In addition to streaming video, it will also be available<br /> on DVD starting 23 February 2021.</p><p>In addition to this news, the they released the cover art seen in this post. <br /></p><p> </p><p>Here is the official synopsis of the film:</p><h3 aria-controls="ui-id-36" aria-expanded="true" aria-selected="true" class="accordion-first ui-accordion-header ui-state-default ui-accordion-header-active ui-state-active ui-accordion-icons" id="ui-id-35" role="tab" tabindex="0"></h3><p> Scooby-Doo and the gang journey back in time to help King Arthur save his throne from an evil sorceress. While there, Shaggy unwittingly pulls out Excalibur from a nearby stone to cut a block of cheese and now no one is sure who the rightful ruler is! The legendary wizard, Merlin, appears and explains that the throne of Camelot must be determined through TRIAL BY COMBAT! Our heroes pull out all the stops to try and win the tournament, break the witch's hold on King Arthur, and find a way back to the present in this legendary story of Scooby Doo in King Arthur's Court! </p><p> </p><p> </p>The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-58526593770887443472021-01-20T21:45:00.001-05:002021-01-20T21:45:15.296-05:00Coming Soon: Woller's From Camelot to Spamalot<div class="content_centre_double product_biblio increased_font_size" id="content" style="text-align: left;"><h2><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-tiGH4fpGJY0/YAjqKFNpwSI/AAAAAAAAAKw/oEWfBF3pJgc9s9h8KTHnfiqloFAUlLx5gCLcBGAsYHQ/s550/FCtS.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="550" data-original-width="365" height="320" src="https://1.bp.blogspot.com/-tiGH4fpGJY0/YAjqKFNpwSI/AAAAAAAAAKw/oEWfBF3pJgc9s9h8KTHnfiqloFAUlLx5gCLcBGAsYHQ/s320/FCtS.jpg" /></a></div><i>From Camelot to Spamalot:Musical Retellings of Arthurian Legend on Stage and Screen </i></h2><a href="https://global.oup.com/academic/product/from-camelot-to-spamalot-9780197511039?q=arthurian&lang=en&cc=us#">https://global.oup.com/academic/product/from-camelot-to-spamalot-9780197511039?q=arthurian&lang=en&cc=us#</a> <br /></div><div class="content_centre_double product_biblio increased_font_size" id="content" style="text-align: left;"> </div><div class="content_centre_double product_biblio increased_font_size" id="content" style="text-align: left;">Megan Woller </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />A new look at the Arthurian legend<br />First book that groups significant works of Arthurian musical adaptations together<br />Includes discussion of archival material<br /> </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br /></div><div class="content_centre_double product_biblio increased_font_size" id="content"><br /></div><p>Paperback, $35.00 (also available as <a href="https://global.oup.com/academic/product/from-camelot-to-spamalot-9780197511022?lang=en&cc=us" target="_blank">hardcover</a> and ebook)</p><p>This item is not yet published. It is available for pre-orders and will ship on 22 March 2021. </p><p>248 Pages <br /><br /> 6 1/8 x 9 1/4 inches <br /><br />ISBN: 9780197511039</p><p> <br /></p><div class="content_centre_double product_biblio increased_font_size" id="content"></div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Description <br /> <br /> For centuries, Arthurian legend has captured imaginations throughout Europe and the Americas with its tales of Camelot, romance, and chivalry. The ever-shifting, age-old tale of King Arthur and his world is one which depends on retellings for its endurance in the cultural imagination. Using adaptation theory as a framework, <i>From Camelot to Spamalot</i> foregrounds the role of music in selected Arthurian adaptations, examining six stage and film musicals. The book considers how musical versions in twentieth and twenty-first century popular culture interpret the legend of King Arthur, contending that music guides the audience to understand this well-known tale and its characters in new and unexpected ways. All of the productions considered include an overtly modern perspective on the legend, intruding and even commenting on the tale of King Arthur. Shifting from an idealistic utopia to a silly place, the myriad notions of Camelot offer a look at the importance of myth in American popular culture. Author Megan Woller's approach, rooted in the literary theory of scholars like Linda Hutcheon, highlights the intertextual connections between chosen works and Arthurian legend. In so doing, From Camelot to Spamalot intersects with and provides a timely contribution to several different fields of study, from adaptation studies and musical theater studies to film studies and Arthurian studies.</div><div class="content_centre_double product_biblio increased_font_size" id="content"> </div><div class="content_centre_double product_biblio increased_font_size" id="content"> </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Table of Contents <br /> <br /><br />Acknowledgements </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Introduction </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Part 1: Adapting Mark Twain's A Connecticut Yankee in King Arthur's Court<br />Prelude: Twain as Adapter <br />Chapter 1: Musical Storytelling and Revision in Rodgers and Hart's A Connecticut Yankee <br />Chapter 2: Bing Crosby's Stardom and Legend in A Connecticut Yankee in King Arthur's Court </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Part 2: Adapting T.H. White's The Once and Future King<br />Chapter 3: Interpretation and Characterization in Lerner and Loewe's Camelot <br />Chapter 4: Naiveté and the Depiction of Arthur's Childhood in Disney's The Sword in the Stone</div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Part 3: Monty Python as Adapters<br />Chapter 5: Parody and the Role of Song in Monty Python and the Holy Grail <br />Chapter 6: Notions of Place, Legend, and Broadway in Monty Python's Spamalot </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Conclusion</div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Archival Collections<br />Bibliography <br />Index </div><div class="content_centre_double product_biblio increased_font_size" id="content"> </div><div class="content_centre_double product_biblio increased_font_size" id="content"> </div><div class="content_centre_double product_biblio increased_font_size" id="content"><br />Author Information <br /> <br /><br />Megan Woller is Director of Liberal Studies and Assistant Professor of Fine Arts at Gannon University. Her research interests include film music, musical theater, popular music, and music and gender. She is the author of articles on film musical adaptations in <i>The Oxford Handbook of Musical Theatre Adaptations</i>, <i>Music and the Moving Image</i>, and <i>Studies in Musical Theatre</i>. </div><div class="content_centre_double product_biblio increased_font_size" id="content"> </div><div class="content_centre_double product_biblio increased_font_size" id="content"> </div>The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-59155037137847930402021-01-16T00:40:00.002-05:002021-01-16T00:41:20.881-05:00Scooby-Doo in King Arthur's Court!<p> Coming soon to home video:</p><p> </p><p></p><p>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vwIR62tKISM" width="560"></iframe> </p><p> </p><p> <br />
</p>The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-40929552663270578232020-03-10T21:55:00.000-04:002021-08-12T23:28:22.322-04:00Green Knight TeaserA24 recently released a teaser for its upcoming film <i>The Green Knight</i>.<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VoJc2tH3WBw" width="560"></iframe><br />
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(My thanks to Rodney Parrish and other members of the Arthurian Popular Culture Discussion List for the head's up.)Medieval Studies on Screenhttp://www.blogger.com/profile/03070808822017878692noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-25246954618667528432019-11-04T21:20:00.004-05:002019-11-04T21:20:41.832-05:00Happy Birthday, Will Rogers!Goggle is celebrating the 140th birthday of Will Rogers today with an <a href="https://g.co/doodle/jxjkq" target="_blank">animated Google Doodle</a>.<br />
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Happy birthday to the Connecticut Yankee of 1931.<br />
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<br />The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-5445733583318371032019-07-16T16:55:00.000-04:002019-07-16T16:58:17.610-04:00Dragons of CamelotI finally got around to watching <i>The Dragons of Camelot</i> (2014).<br />
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Directed by Mark K. Lester, the production was filmed on location in Wales and serves as a continuation of the Arthurian story that pits Arthurian heroes against Morgan le Fay (and her dragon allies) for rule of the country after Arthur's death. Lancelot and Guinevere play pivotal roles as does their son, Galahad. He is aided in his quest by former Grail seekers Bors, Percival and his sister, Dindrane. Merlin is also featured and is instrumental to Morgan's defeat. There are some notable divergences from the tradition, but the film does make a useful contribution to the After-Arthur subgenre.<br />
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The dvd release includes a short documentary on the making of the film.<br />
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The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-40637136631007663232019-06-14T12:57:00.001-04:002019-06-14T12:57:15.439-04:00Harty Celebration in ArthurianaThe latest number of <i>Arthuriana </i>(29.2 for Summer 2019) is a special issue celebrating the work of Kevin J. Harty. It also features a number of reviews of recent films.<br />
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Relevant content is as follows. Subscribers may access the issue at the <a href="http://www.arthuriana.org/access/29-2Contents.html" target="_blank">journal's website</a> and <a href="http://muse.jhu.edu/issue/40500" target="_blank">Project MUSE</a>.<br />
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Preface<span style="white-space: pre;"> </span><br />
Alan Lupack and Barbara Tepa Lupack<span style="white-space: pre;"> </span>3<br />
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‘Who are the Britons?’ Questions of Ethnic and National Identity in Arthurian Films<span style="white-space: pre;"> </span><br />
Christopher A. Snyder<span style="white-space: pre;"> </span>6<br />
<span style="white-space: pre;"> </span><br />
Queer as Folk<span style="white-space: pre;"> </span><br />
Donald L. Hoffman 24<br />
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Tristan in Film<span style="white-space: pre;"> </span><br />
Joan Tasker Grimbert<span style="white-space: pre;"> </span>47<br />
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<i>A Connecticut Yankee</i> at the Movies<span style="white-space: pre;"> </span><br />
Barbara Tepa Lupack<span style="white-space: pre;"> </span>64<br />
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Romancing the Cold War: America’s Atomic Narrative Gets Medieval [on<i> Adventures of Sir Galahad</i>]<span style="white-space: pre;"> </span><br />
Susan Aronstein<span style="white-space: pre;"> </span>86<br />
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From Kids as Galahad to <i>Kid Galahad</i><span style="white-space: pre;"> </span><br />
Alan Lupack<span style="white-space: pre;"> </span>102<br />
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REVIEWS<span style="white-space: pre;"> </span><br />
<span style="white-space: pre;"> </span><br />
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Joe Cornish, dir., <i>The Kid Who Would Be King<span style="white-space: pre;"> </span></i><br />
Alan Lupack<span style="white-space: pre;"> </span>119<br />
<span style="white-space: pre;"> </span><br />
David Mackenzie, dir.,<i> Outlaw King</i><span style="white-space: pre;"> </span><br />
Andrew B.R. Elliott<span style="white-space: pre;"> </span>121<br />
<span style="white-space: pre;"> </span><br />
James Wan, dir., <i>Aquaman<span style="white-space: pre;"> </span> </i><br />
Susan Aronstein and Taran Drummond<span style="white-space: pre;"> </span>124<br />
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<br />The Alliance for the Promotion of Research on the Matter of Britainhttp://www.blogger.com/profile/04275647834716076424noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-47504878795313100922019-05-05T23:29:00.000-04:002019-05-05T23:29:47.592-04:00Croft on Orphan Black!<br />Janet Brennan Croft has an intriguing new essay out in the recent issues of Mythlore. It can be ordered direct at <a href="http://www.mythsoc.org/mythlore/mythlore-134.htm">http://www.mythsoc.org/mythlore/mythlore-134.htm</a>.<br /><br /><br />Here is the citation:<br /><br />Croft, Janet Brennan. “ ‘Auntie, What Ails Thee?’: The Parzival Question in <i>Orphan Black</i>.” Mythlore, vol. 37, no. 3, Spring/Summer 2019, pp. 117-39.<br /><br /><br />The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-52387732292517310402019-04-20T15:41:00.001-04:002021-08-04T12:59:23.750-04:00Hellboy and the Return of the King: A Review<p></p><div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: large;"><i style="mso-bidi-font-style: normal;">Hellboy</i> and the Return of the King: A
Review </span></b><p></p><p><b><span style="font-size: large;">Guest Post by Carl B. Sell </span></b><br /></p><div class="MsoNormal" style="line-height: normal;">
<br /></div><p>Neil Marshall’s
reboot of the <i style="mso-bidi-font-style: normal;">Hellboy</i> film franchise
is a stark contrast to the films of Guillermo del Toro (2004’s <i style="mso-bidi-font-style: normal;">Hellboy</i> and its 2008 sequel, <i style="mso-bidi-font-style: normal;">Hellboy II: The Golden Army</i>). The petulant,
childish Hellboy portrayed by sci-fi/fantasy staple-actor Ron Perlman in del
Toro’s films is juxtaposed with <i style="mso-bidi-font-style: normal;">Stranger
Things </i>veteran David Harbour’s more mature—if still sarcastic—take on the
character in Marshall’s film. While the reboot has received largely mixed
reviews (and perhaps that is being a bit too kind in most cases), the reviews
that denigrate the film often ground themselves in a loyalty to del Toro’s
vision for Hellboy—a vision that, perhaps, was not grounded in a sense of
fidelity to Mike Mignola’s creation nor his comics. While it is in the nature
of adaptations to not necessarily adhere to any sense of fidelity to their
sources, as Julie Sanders so clearly explains, readers of Dark Horse’s <i style="mso-bidi-font-style: normal;">Hellboy</i> series seem to be torn on
Marshall’s film: while del Toro’s Hellboy may be the most prominent and
established—aside from Mignola’s own, of course—Marshall’s Hellboy is more
familiar to the readers of Mignola’s comics, as 2019’s Red remains true to the
older, more experienced Hellboy of Dark Horse’s solo title. It could be
argued—and has been, by a few reviewers—that del Toro’s <i style="mso-bidi-font-style: normal;">Hellboy</i> films are a better take on the <i style="mso-bidi-font-style: normal;">B.P.R.D. </i>series than a worthy <i style="mso-bidi-font-style: normal;">Hellboy</i>
adaptation. Whatever the case may be, there is one thing that clearly separates the reboot from
del Toro’s films: the presence of the Once and Future King
himself, Arthur Pendragon. </p><p>From
the first seconds of the film, the narration of Professor Broom (portrayed by
the talented, if perhaps strangely cast, Ian McShane) introduces audiences to
Dark Age Britain and the war between King Arthur and the fey folk of the
island, led by the Blood Queen, Vivienne-Nimue. Without giving too much of the
film away, Excalibur, Arthur, Merlin, and the very medieval notions of prophesy
and fate play a vital role in the film’s narrative, particularly when it comes
to Hellboy and his own connections with the events of the past. Marshall’s
source material becomes clear with this set-up: the rebooted <i style="mso-bidi-font-style: normal;">Hellboy</i> is drawing upon the last few
story arcs in the standalone <i style="mso-bidi-font-style: normal;">Hellboy</i>
title, <i style="mso-bidi-font-style: normal;">The Wild Hunt</i>, <i style="mso-bidi-font-style: normal;">The Storm</i>,<i style="mso-bidi-font-style: normal;"> </i>and<i style="mso-bidi-font-style: normal;"> The Fury</i>. (In fact,
the original title for the reboot was <i style="mso-bidi-font-style: normal;">Hellboy:
Wild Hunt</i>, which was changed in the last few months before its release for
an unspecified reason.) Mignola’s final arcs before the <i style="mso-bidi-font-style: normal;">Hellboy in Hell</i> series pit Red in against the Blood Queen and the
evils of “Ragna Rok,” the apocalyptic event of which Hellboy is a herald. </p><p>The
film expands the role of Arthur and, notably, Merlin, as the two have more of a
presence than in Mignola’s work. However, it is Hellboy’s connection to them
that still remains the most vital component to the narrative arc in both the
film and its sourcetexts. Hellboy’s involvement in British affairs begins when
the Osiris Club asks for his help in killing three giants that have been
plaguing the English countryside. With a warning about the apocalypse from a
vampiric former B.P.R.D. agent still in his mind, Hellboy teams up with the
Osiris club’s “Wild Hunt” to slay the monsters. It is explained that giants
were the original inhabitants of the island nation—an interesting nod to the
pseudo-histories of Geoffrey of Monmouth, Wace, and Layamon—who often return to
wreak havoc. Many Wild Hunts have been formed in the past with honored guests,
including Hellboy’s “father” Professor Broom, but Hellboy remains skeptical of
why he is needed—and rightly so. As in the comics, the Wild Hunt turns on Hellboy,
claiming that he, a devil, “will never sit on the throne of England.” Hellboy,
and perhaps new audiences who have not read Mignola’s comics, is yet unaware
that this has to do with his lineage and his destiny as the last remaining
scion of Arthur Pendragon.</p><p>In
an interesting change from the source material, Harbour’s Hellboy finds out
about his relationship to Arthur not from Morgan le Fay, as in the comics, but
from Merlin himself (who, interestingly, is portrayed with a Scottish accent by
Irish actor Brian Gleeson, perhaps in a nod to Merlin’s origins with Scotland’s
Lailoken, the medieval seer and wild man). Perhaps this change was due to the
knowability of Merlin for a more general audience, as he is arguably more
recognizable as being tied to Arthur in popular culture, but this argument does
not hold much weight considering the number of adaptations and representations
of Arthur both in medieval works and in popular culture that <i style="mso-bidi-font-style: normal;">do</i> feature Morgan le Fay. This change,
while seemingly arbitrary, marks a serious departure from the film’s
sourcetext, and is worth noting, for whatever reason the change was made—though
I, for one, hope that it was merely a nod to the relationship between Nimue and
Merlin of Arthurian legend (notably Malory and those works adapted from <i style="mso-bidi-font-style: normal;">Le Morte Darthur</i>) and not a sign of a
larger erasure of Morgan herself. </p><p>The
Morgan change in the film becomes more important, however, when Hellboy’s
lineage is explained by Merlin in the film. Rather than have Morgan le Fay, the
self-proclaimed mother of Arthur’s only son, Mordred, explain who Hellboy is as
do the comics, the film opts for a less family-centered approach. The filmic
Merlin explains to Hellboy that Arthur had a daughter, who had a daughter, and
so on, down to Hellboy’s mother, a witch, in 1571 who gave birth to Hellboy in
Hell, as his demon father had claimed the mixed human-devil child. It is
interesting to note that the film plays heavily on the notion of what side
Hellboy will choose, the devil inside or the human upbringing he was given.
However, the comics complicate this aspect of Hellboy’s choice by explaining
that Arthur’s son, Mordred—and <i style="mso-bidi-font-style: normal;">not</i> the
fictional daughter of the film—is Hellboy’s link to Arthur. In <i style="mso-bidi-font-style: normal;">The Wild Hunt</i> story arc, Morgan explains
that Mordred, her son and the bastard of King Arthur himself, had himself three
sons, born to a witch, and who, after Mordred’s death at Camlan, were tracked
down and put to death—yet another nod to the pseudo-histories of Geoffrey,
Wace, and Layamon, who describe the “extinction” of Mordred’s line. But, as
Morgan explains, Mordred also had a daughter, a daughter that was hidden from
those who sought to end the line of Pendragon: from this daughter is the line
of daughters—all witches themselves—comes Sarah Hughes, the witch mother of Hellboy.
Hellboy is, then, the first and only male descendant of Mordred, the last male
in the line of King Arthur, and the rightful king of Britain. The Hellboy of
the comics is thus a scion of evil on both sides: his demon father, Azzael, is
a lord of Hell, and his human lineage stems from Mordred, the man who usurped
Arthur’s crown and eventually killed him, bringing evil to Britain.</p><p>By
changing this key aspect of Hellboy’s lineage and giving <i style="mso-bidi-font-style: normal;">Arthur</i> the daughter rather than Mordred, the film provides Hellboy
with a more of a choice between the “good” side of himself, the human side, or
the “dark” heritage of his demon father. While this change does, of course,
lend itself to the film’s direction—Hellboy’s choice is the catalyst for the
eventual defeat of Nimue and for the stemming of Ragna Rok itself via his
rejection of his demonic destiny—it is a change that somewhat lessens the
Arthurian possibilities of future <i style="mso-bidi-font-style: normal;">Hellboy</i>
installments. As Marshall’s <i style="mso-bidi-font-style: normal;">Hellboy</i>
relies strongly on the ideas of destiny and fate—as suits its medieval sources,
particularly when it comes to the importance of Merlin and his prophesies in
Geoffrey of Monmouth—one might argue that a Hellboy who must choose between not
one but <i style="mso-bidi-font-style: normal;">two</i> evil lineages would be
the more interesting direction (as Mignola himself seems to think), but,
instead, Red is allowed the choice between being human—or as near an
approximation to human as a tall, red half-demon with a stone right hand can
get—and being Nimue’s king, a lord of Hell and the bringer of the end of days.</p><p>Red, of course,
rejects the demonic lordship in both the comics and in the film, but the film
adds a new layer to the already complicated character of Harbour’s Hellboy. The
newest iteration of Hellboy rejects Excalibur, the only weapon that can defeat
the Blood Queen—at least at first. When Merlin asks Hellboy if tales of King
Arthur still exist in the world—to which Hellboy jokingly replies that King
Arthur is a pop culture phenomenon—and if the devilish hero has heard of the
sword in the stone, the knowing audience soon realizes that Hellboy will be
asked to draw the sword again, as only a true descendant of Arthur can do so.
This is a bit of a twist to Malory’s sword in the stone episode, and is a
revision to both the comics and to the Once and Future King prophecy associated
with Arthur. A possible explanation for this change can be found by applying
Jason Tondro’s classifications of Arthurian comics in his essay “Camelot in
Comics,” found in the collection <i style="mso-bidi-font-style: normal;">King
Arthur in Popular Culture</i>, edited by Elizabeth S. Sklar and Donald L.
Hoffman. In his essay, Tondro explains the category of “Arthur Transformed,” as
containing “Return of the King” style narratives that either show Arthur
himself as returned to a different context or, as in the case of Hellboy,
position another character as the rightful heir of Arthur who will act as a
returned king (177). The initial rejection of Excalibur of Harbour’s Hellboy is
also a rejection of his Arthurian destiny, the rejection of the return of the
rightful kingship. However, when Hellboy finally claims Excalibur—in the tomb
of Arthur, no less, who disappears in fire after the sword is drawn, signifying
Hellboy’s demonic fate—after the traumatic death of Professor Broom at the
hands of Nimue, the film portrays the acceptance of the Arthurian kingship as
an equal acceptance of an alliance with Nimue and Hellboy’s destiny as a lord
of Hell and a herald of the apocalypse. Hellboy, wielding a flaming Excalibur,
crowned with a hellfire and fully horned (see the above image), unleashes Hell
on Earth—quite literally. It is only by embracing his human nature that Hellboy
is able to banish the hellspawn he unleashes, behead Nimue with Excalibur (just
as his ancestor did before him) and reject his perceived destiny as ruler of
Hell. While the Hellboy of the comics also rejects his kingship, another king
returns, wielding the Excalibur that Hellboy rejects, to lead the returned
knights of Britain against the forces of Ragna Rok, while Hellboy himself stems
the tides of Hell at the cost of his life—or so it seems.</p><p>The film,
however, ends on less of an Arthurian note. After Alice jokingly asks Hellboy
if he is king of England now, the film’s timeline jumps forward, and Excalibur
is not seen again, either in Hellboy’s hands or embedded in stone. We are left
wondering where it is, if Hellboy will wield it, if he will be content to be a
hero and not a king, and if his destiny will play a further role in his life
with the remnants of the B.P.R.D. The Arthurian death of Hellboy from the final
pages of <i style="mso-bidi-font-style: normal;">The Fury</i> comic arc are left
untouched by the film, and, given the role of the Baba Yaga in the film and in
the end credits scene, it seems as if, rather than moving forward in Mignola’s <i style="mso-bidi-font-style: normal;">Hellboy</i> timeline, any potential sequel
will instead move backwards to deal with the <i style="mso-bidi-font-style: normal;">Darkness Calls</i> story arc. Perhaps Hellboy’s Arthurian links will
play a future role in a fight with the teased Koshchei the Deathless? As of
yet, we do not know. While audiences and critics must wait to see if future <i style="mso-bidi-font-style: normal;">Hellboy</i> films will continue the
Arthurian storyline, the disappearance of Excalibur from the last moments of
the film is likely an indicator of the future—a future that may also include
Abe Sapien, which hardly seems like a worthy replacement for Excalibur and the
Arthurian elements showcased in the majority of the film.</p><p>Whatever Red’s
future may hold, the Arthurian elements of Mignola’s Hellboy were finally
realized on screen. While changes were made, the spirit of the Arthurian source
material—both Mignola’s comics and medieval Arthurian literature—remains in
Marshall’s film. Audiences and critics alike must also remember that this is a
new Hellboy, one that draws from different inspiration and moves in a different
direction than del Toro’s version of the titular character. In an era of
Arthurian inundation, I, for one, welcome <i style="mso-bidi-font-style: normal;">Hellboy</i>’s
take on the Matter of Britain. </p><p> </p><p> </p>Carl Sellhttp://www.blogger.com/profile/12912957453629014631noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-24481991636127878652019-04-09T22:29:00.006-04:002021-08-04T13:01:30.699-04:00Aquaman and the Matter of Atlantis: A Brief Review <span style="font-size: small;"><span style="font-family: inherit;"><!--[if !mso]>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
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<![endif]--></span></span><h2><span style="font-size: small;"><a href="https://4.bp.blogspot.com/-1l70-GUNtB8/XK1Ue15gYnI/AAAAAAAABS8/nl2Rm-dBtkYdpKEaNnl1ys6k8tr_NlFpACLcBGAs/s1600/aquaman-poster.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1280" height="320" src="https://4.bp.blogspot.com/-1l70-GUNtB8/XK1Ue15gYnI/AAAAAAAABS8/nl2Rm-dBtkYdpKEaNnl1ys6k8tr_NlFpACLcBGAs/s320/aquaman-poster.jpg" width="256" /></a><span style="font-size: large;"><span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span>Aquaman</span></i><span> and the Matter of Atlantis</span></span></span></span></h2><h2><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="font-size: large;">Guest Post by Carl B. Sell </span><br /></span></span></span></h2><span style="font-size: small;"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span></span><div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"></span></span></div><p><span style="font-size: small;"><span style="font-family: inherit;"></span><span style="font-family: inherit;"><span> </span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span>James Wan’s <i style="mso-bidi-font-style: normal;">Aquaman</i> is firmly entrenched (no pun intended) in its source
material, even while it makes changes and shifts to the established DC Comics’
“canonical” versions of Aquaman’s history and his rise to the throne of
Atlantis. Wan’s film is based on the DC Comics runs of Geoff Johns, who even assisted
in the writing of the film. Johns’s story arcs for DC’s <i style="mso-bidi-font-style: normal;">New 52</i> version of Aquaman, notably <i style="mso-bidi-font-style: normal;">The Trench</i>, <i style="mso-bidi-font-style: normal;">Throne of
Atlantis</i>, and <i style="mso-bidi-font-style: normal;">Death of a King</i> are
all condensed and adapted for the filmic version of Arthur Curry—this includes
the Arthurian aspects of Johns’s runs and the links between Arthur, King of
Atlantis and the (arguably) more famous Arthur, King of the Britons. </span></span><span style="font-family: inherit;"></span></span></p><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto; text-indent: 0.5in;"><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span></div><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="mso-tab-count: 1;"></span>The
Arthurian connections begin almost immediately in Wan’s film and continue
throughout the 2 hour and 23 minute run time of DC’s latest entry in its
cinematic universe. <i style="mso-bidi-font-style: normal;">Aquaman</i> makes no
attempt to hide its borrowing of Arthurian themes—nor does its comics source
material—and in fact seems to desire an explicit as well as implicit connection
between the two Arthurs. Tom Curry, Arthur’s father, suggests that he and
Atlanna, the escaped Atlantean queen, name their son Arthur, as Tom recalls the
power of the mythic king. Arthur Curry, like that famous king of legend, is to
serve as a uniter of warring peoples, though instead of various tribes of
Britons, Aquaman must unite the seemingly disparate Atlantean factions as well
as the people of the land. No mean task for a man who feels like he truly
belongs to neither world, the human nor the Atlantean.</span></span></span></div><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto;"><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span></div><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="mso-tab-count: 1;"></span>However,
all seem to be aware of his role, none more so than his mother, Atlanna. She
tells the young Arthur a story about the trident of Atlan, the legendary king
of Atlantis, and that only the rightful king, the true king, can find it and
wield it in service to his people. If this sounds similar, it should: this is
an obvious connection to the sword in the stone motif of Arthurian legend, and
one that Johns and his predecessors in the <i style="mso-bidi-font-style: normal;">Aquaman</i>
comic title, Peter David and Rick Veitch use heavily. The notion of a “bastard”
being the rightful king of Atlantis is also called into question, another clear
parallel with Arthurian legend. With these themes of rightful kingship,
questionable parentage, and monarchial love relationships, Johns and Wan draw
inspiration from Malory. Johns is no stranger to the Arthurian themes and
characteristics of <i style="mso-bidi-font-style: normal;">Le Morte Darthur</i>;
in fact, his <i style="mso-bidi-font-style: normal;">Aquaman: Death of a King</i>
story arc is a near-perfect parallel to the rise and fall of the legendary King
Arthur—albeit with adapted revisions and reimaginings that fit with Jason
Tondro’s explorations of the categories of Arthurian comics. While the film
carries on with these parallels, it remains, of course, a new vision of Aquaman
which is adapted from the <i style="mso-bidi-font-style: normal;">New 52</i>
comics and not meant to be a complete rehashing of Johns’s former work with the
character.</span></span></span></div><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto;"><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span></div><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="mso-tab-count: 1;"></span>As
in <i style="mso-bidi-font-style: normal;">Le Morte Darthur</i>, <i style="mso-bidi-font-style: normal;">Aquaman</i>’s king is conceived by a royal
figure who may or may not be married at the time of Arthur’s conception and
birth: the film never explicitly reveals if Tom and Atlanna were married, which
adds the ambiguity of Arthur’s birth which is also present in the early life of
Malory’s Arthur. Of course, the gender reversal of the royal figure from whom
Arthur claims his birthright—the line of his mother, Atlanna, versus the
primogeniture line of Uther Pendragon for King Arthur—is a difference, but not
a major one for Wan’s film, as in Atlantis it seems that kings can be made from
either side, the mother or the father. Atlanna, fleeing an arranged marriage,
still parallels Malory’s Igraine, who flees the unwanted advances of Uther;
yet, like Igraine, Atlanna does eventually marry the new king of Atlantis, and conceives
another child, Orm, who will take the place of Morgan le Fay in both the comics
and the film. </span></span></span></div><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto;"><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span></div><span style="font-size: small;"><span style="font-family: inherit;"></span><span style="font-family: inherit;"><span>Like Malory’s Arthur, Arthur Curry
is hidden away from his birthright. Kept from the political machinations of the
sea kingdoms, Arthur is raised by his father, who teaches him the system of
honor and duty that will guide Arthur’s life both as the Justice League member
Aquaman and as the eventual King of Atlantis. The Māori culture to which he and
his father belong—a change, of course, modeled on the fact that lead actor,
Jason Momoa, is of Māori decent. This change does not feel out of place,
however, as it adds to the differences between human culture and those of the
various peoples of Atlantis, which only serves to heighten the importance of
Arthur Curry’s unification of land and sea when he becomes king. Arthur Curry
is also taught by Vulko, his mother’s trusted advisor, who functions as a
Merlin figure in the life of young Arthur (perhaps in a nod to T. H. White’s
Merlyn, who trains “Wart” to be a good king). Why Vulko trains Arthur in the
ways of Atlantis is never really made explicit, but it can be assumed that he,
like Merlin before him, knows that Arthur will unify nations and ardently
believes that the young king-in-waiting must embrace his destiny. Vulko’s role
seems to be much smaller in the film than in the comics, which perhaps comes
from the necessary shortening of the film and the condensing of the various
story arcs from the comics into a single, cohesive narrative, but Vulko feels a
bit wasted in <i style="mso-bidi-font-style: normal;">Aquaman</i>. Perhaps, like <i style="mso-bidi-font-style: normal;">Batman vs. Superman</i> before it, <i style="mso-bidi-font-style: normal;">Aquaman</i> will eventually see an extended
version that answers some nagging questions—particularly about how and why
Vulko finds Arthur when no one else seems to be able to, or the fact that no
one questions the time Vulko remains on the surface to train the young prince,
or when and why those lessons stop—but, for now, we may only guess at the
reasons and attempt to fill in the gaps with not only Johns’s runs of <i style="mso-bidi-font-style: normal;">Aquaman</i> comics, but also with our understanding
of Malory and other Arthurian stories.</span></span><span style="font-family: inherit;"></span></span><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto; text-indent: 0.5in;"><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span></div><span style="font-size: small;"><span style="font-family: inherit;"></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span>Orm, Aquaman’s brother and King of
Atlantis (at least before Arthur himself proves his worth), hates his older
brother, whom he sees as the reason Atlanna was banished by her Atlantean
husband to The Trench to die. Orm functions as a Morgan le Fay character
because of that hate: he blames his brother for all of his ills just as Morgan
blames Arthur for the death of her father, her political marriage, and nearly
all else in her life. Also like Morgan, Orm has a chance at redemption in the
end. In Malory, Morgan is one of the queens who carries Arthur away to Avalon
to be healed, proving that she is no longer out to see her brother dead; in <i style="mso-bidi-font-style: normal;">Aquaman</i> (the film as well as the
comics), Orm cedes the throne to Arthur when he defeats him in combat with the
trident of Atlan—and at the urging of their mother, also returned from The
Trench. Orm’s hatred of the land stems from Arthur’s birth and his mother’s
exile, and, in a way, could also be considered a kind of Mordred figure;
whichever we chose to see him as, however, he remains alive and will likely
play a vital role in any <i style="mso-bidi-font-style: normal;">Aquaman</i>
sequel.</span></span></span><span style="font-size: small;"><span style="font-family: inherit;"></span></span><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto; text-indent: 0.5in;"><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span></div><span style="font-size: small;"><span style="font-family: inherit;"></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span>Without spoiling too much of the
film, Arthur’s worthiness is proved when he claims Atlan’s trident in much the
same way as Arthur Pendragon’s claim to the British throne is proven when he
draws the sword from the stone and when he claims Excalibur from the Lady of
the Lake (see the image above for an even more blatant connection between Excalibur and Atlan's trident). Atlan’s role in the film is significantly shortened and changed from
Johns’s <i style="mso-bidi-font-style: normal;">Death of a King</i> story arc,
though his importance as the last king of a truly unified Atlantis—an Atlantis
that had yet to sink—creates yet another Arthurian parallel: Atlan left his
kingdom after it fell and his trident was hidden away until Arthur reclaims it.
The reference here is, of course, to King Arthur’s journey to Avalon and crafts
Arthur Curry as a returned Arthur, a new Arthurian king that will once again
unite the disparate peoples into a united front to combat evil. While I still
hope for Atlan’s return and the revelations that come with it—<i style="mso-bidi-font-style: normal;">Death of a King</i> remains my favorite of
Johns’s stories, and pits two Arthurian figures against each other—I can at
least be glad that all of Johns’s arcs are used and referenced in the film
(Arthurian content, of course, included).</span></span></span><span style="font-size: small;"><span style="font-family: inherit;"></span></span><div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0in; mso-add-space: auto; text-indent: 0.5in;"><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span></div><p><span style="font-size: small;"><span style="font-family: inherit;"></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span>Wan’s <i style="mso-bidi-font-style: normal;">Aquaman</i>—with more than a little help from Geoff Johns, it
seems—continues the tradition of Aquaman-as-Arthur established by DC comics and
the more recent iterations of Arthur Curry. While adaptations are necessarily
different than their source material, <i style="mso-bidi-font-style: normal;">Aquaman</i>
holds its own, not just as a superhero film, but also as an Arthurian film.
While Arthur (Curry) rules, Atlantis-as-Britain has a strong leader. But, while
Orm and Black Manta live, Atlantis will never truly know peace—especially as it
is pulled into the conflicts of the land with its king maintaining membership
in the Justice League. I, for one, hope that the Matter of Atlantis will
continue on the screen, and, of course, in the comics.</span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span> </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"></span></span><span style="font-family: inherit; font-size: small;">
</span></p>Carl Sellhttp://www.blogger.com/profile/12912957453629014631noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-12892364985567056892018-08-30T20:50:00.000-04:002018-08-30T20:56:49.942-04:00Out Now: A Green and Pagan Land<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-yWVrYtT3lD4/W4iQbdjCF1I/AAAAAAAAAJ4/EwNk5Yfzsm4CA3hRNA33DImagiQ_xUoFwCLcBGAs/s1600/GaPL.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="375" data-original-width="250" height="320" src="https://2.bp.blogspot.com/-yWVrYtT3lD4/W4iQbdjCF1I/AAAAAAAAAJ4/EwNk5Yfzsm4CA3hRNA33DImagiQ_xUoFwCLcBGAs/s320/GaPL.jpg" width="213" /></a></div>
<i>New from McFarland: </i><br />
<br />
A Green and Pagan Land: Myth, Magic and Landscape in British Film and Television<br />
<a href="https://mcfarlandbooks.com/product/a-green-and-pagan-land/">https://mcfarlandbooks.com/product/a-green-and-pagan-land/</a><br />
David Huckvale<br />
<br />
$39.95<br />
Format: softcover (6 x 9)<br />
Pages: 227<br />
Bibliographic Info: 33 photos, notes, bibliography, index<br />
Copyright Date: 2018<br />
pISBN: 978-1-4766-7050-8<br />
eISBN: 978-1-4766-2993-3<br />
Imprint: McFarland<br />
<br />
British literature often refers to pagan and classical themes through richly detailed landscapes that suggest more than a mere backdrop of physical features. The myth-inspired writings of Alfred, Lord Tennyson, Algernon Blackwood, Aleister Crowley, Lord Dunsany and even Kenneth Grahame’s <i>The Wind in the Willows</i> informed later British films and television dramas such as <i>The Owl Service</i> (1969-70), <i>Blood on Satan’s Claw </i>(1971), <i>The Wicker Man</i> (1973), <i>Excalibur </i>(1981) and <i>Monty Python and the Holy Grail </i>(1975). The author analyzes the evocative language and esthetics of landscapes in literature, film, television and music, and how “psycho-geography” is used to explore the influence of the past on the present.<br />
<br />
<br />
About the Author(s)<br />
<br />
David Huckvale has worked as a researcher, writer and presenter for BBC Radio and as a lecturer for various universities in England. He lives in rural Bedfordshire. <br />
<br />
<br />
<br />The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-67592754395702641502018-07-19T09:14:00.000-04:002018-08-30T20:53:41.476-04:00CFP: ICMS 2019 - Arthurian Games Roundtable "All Manner of Knightly Games""All Manner of Knightly Games": Games In and Inspired by the
Arthurian Tradition. Kalamazoo 2019 session:<br />
<br />
Throughout Arthurian literature, there is an abundance of games and
entertainments. Perhaps most famously, Sir Gawain and the Green Knight is
structured on two sets of games: the exchange of blows game and the exchange of
winnings game. In Malory’s Le Morte D’Arthur, the hallmark of a happy court is
“revels and games” or “all manner of games and plays.” And of course the
tourneying so central to the Arthurian tradition is in essence a game. Often,
these games and entertainments contribute to the main themes of the text, as
when Queen Guinevere goes a-Maying (a type of “game),” protected by a handful
of woefully unprepared “Queen’s Knights.” The devious Sir Meligrance kidnaps
Guinevere, taking her back to his castle. While Lancelot eventually slays the
evil knight, and rescues the Queen, the gaming and abduction highlight the
decadence of Arthur’s court, which leaves Camelot vulnerable, unready to defend
itself from the gathering shadows.<br />
<br />
Perhaps because of the games and gaming inherent in the Arthurian tradition,
these texts have recently inspired elements of modern games: video games, board
games, card games, and more. Some games feature themes from the original medieval
texts, such as Shadows Over Camelot, a board game that assigns players roles as
loyal knights or as a traitor. As the players go on quests, safeguarding
Arthur’s kingdom, tensions rise as each knight suspects the other of foul play.
Other games simply appropriate Arthurian names and objects, such as the video
game Persona 5 which features the Holy Grail as a boss for players to defeat
near the end of the game.<br />
<br />
The purpose of this Round Table will be two-fold: first, to discuss “courtly
play” and “gaming” as they appear in medieval Arthurian texts, and second, to
consider the ways contemporary games have utilized the Arthurian tradition as a
world building function. The dual nature of this session seeks to gain a better
understanding of Arthurian game and play in both medieval and contemporary
Arthuriana.<br />
<br />
Session presenters will be asked to give short papers or prepared remarks,
followed by time for discussion. We are very interested in trans-temporal
proposals, linking the themes, narratives, characters or concepts between
medieval and medievalism. To emphasize this point, audience members will be
given character cards from Camelot Legends, to encourage reflection of these
moments. This tactile scholarship and specific use of cards produced lively
discussion in BABEL’s 2017 Reno Meeting session “The Hand You’re Dealt: A
Presentation of Exhibits and Roundtable on Creative Process.”<br />
<br />
The session will serve as an excellent opportunity to introduce attendees to
contemporary gaming culture and its pedagogical potential. The narratives of
decadence and treachery serve as only a few examples for the approaches to this
subject. The wealth of Arthurian “gaming” narratives found in medieval
Arthurian texts along with the profusion of contemporary games creates fertile
ground for a nuanced discussion of Camelot and its legacy.<br />
<br />
Finally the session welcomes papers which discuss race (and whiteness),
gender, LGBTQ, disability, poverty and education.<br />
<br />
Please submit 200 word
abstract to: <br />
tnarayanan@mail.csuchico.edu by 9/15.<br />
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<![endif]-->Carl Sellhttp://www.blogger.com/profile/12912957453629014631noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-82819964389511450922018-07-08T09:58:00.003-04:002021-08-04T13:04:50.333-04:00Unworthy Knights in The Legend of Zelda: A Link Between Worlds<p>Guest Post by Scott Manning <br /></p><p>Zelda games are full of medievalisms, typically of the Arthurian variety. The basics of tedious side quests, pontificating hermits, damsels in distress, and a sword in the stone are all there.<br />
<br />
The Legend of <i><a href="https://www.amazon.com/Legend-Zelda-Between-Worlds-nintendo-3ds/dp/B00GANWVJE/ref=as_li_ss_tl?th=1&linkCode=ll1&tag=amazon0e28-20&linkId=cfd598859f348c9539798eec67270b2f" target="_blank">Zelda: A Link Between Worlds</a></i> for the Nintendo 3DS is no exception.<br />
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The first part of the game features a mysterious sorcerer named Yuga who invades the Kingdom of Hyrule. Yuga erects a mysterious energy barrier around the kingdom’s castle, trapping Princess Zelda. Link learns from a Merlin-like sage that the only thing capable of breaking the barrier is the Master Sword. To gain this sword, our hero must hold the pendants of Courage, Power, and Wisdom, which can only be acquired through defeating monsters at the end of dungeons. These are physical manifestations of traits whereas Galahad and other Arthurian knights sought to prove themselves brave and chaste, among other things, through adventures, not physical possessions.<br />
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Even after trekking throughout the kingdom and defeating all sorts of enemies and monsters, Link still must take his newfound courage, power, and wisdom into the Lost Woods. There, our hero must make it through a shifting maze where ghost-like creatures try to confuse him. They do a decent job, as it took me nearly a dozen attempts and break to figure out the trick.<br />
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Finally, when Link makes it through the Lost Woods, he finds the Master Sword, which he pulls from a literal stone. Then Link’s real adventure begins.<br />
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Link’s pendants put a twist on Arthurian legend. If a knight can physically hold courage, power, and wisdom, can the knight also misplace them? In fact, before Link begins his quest, Princess Zelda gave him the Pendant of Courage. At that early stage in the game, there was virtually no feat of note and Link was unaware of the pendant’s value until a hermit explained it to him. Thus, in this world, instead of knights proving themselves, they just must collect all the necessary physical items to prove themselves worthy of the Master Sword. If the pendants can be gifted, could they also be stolen, lost, traded, or gambled away?<br />
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Of course, one possible answer is in the Lost Woods, which required more than bruit strength. Although Link physically had the pendants, he still had to best the maze and misleading spirits. Perhaps this final adventure is the answer to protecting the sword from unworthy knights. Could a fierce, but unworthy knight possessing the necessary pendants forever wander the Lost Woods? Or perhaps the knight could only glimpse the sword and never touch it, reminiscent of Lancelot and the Grail.<br />
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- Scott Manning (<a href="https://twitter.com/warpath" target="_blank">@warpath</a>, <a href="http://scottmanning.com/">scottmanning.com</a>)Scott Manninghttp://www.blogger.com/profile/14056767129400813590noreply@blogger.com0tag:blogger.com,1999:blog-2187373132267399530.post-60474828554094818822018-06-26T09:00:00.001-04:002021-08-04T13:05:32.027-04:00King Arthur in Marvel's Luke Cage on Netflix<p>Guest Post by Scott Manning <br /></p><p>References to King Arthur occur in the recently released season 2 of Marvel's <i>Luke Cage</i> on <a href="https://www.netflix.com/title/80002537" target="_blank">Netflix</a>. In episode one, Cage and others attempt to determine who is the likely buyer of weapons, working off the vague reference El Tercero, which they track down to Arturo Gomez, a Dominican gangster.<br />
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After looking at older photos, one of Cage’s friends recognizes the face, “This guy’s on TV 24/7. Arturo Gomez the third.” He opens a paper to reveal an ad for “Magical Markdowns” at Merlin Discount Furniture.<br />
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Cage immediately appreciates the lead, realizing Arturo Gomez changed his last name to <i>Rey</i> and reinvented himself with a “legitimate” business.<br />
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One of Cage’s friends tries to connect the dots with the rebranding, “Merlin? Arturo Rey?”<br />
The group realizes the connection at the same time and exclaims, “King Arthur!” as <i>Arturo Rey</i> translates from Spanish to Arthur King.<br />
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“Sometimes the answer’s right in front of you,” concludes Cage.<br />
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Eventually, Cage goes to confront King Arthur in a warehouse district, possibly the furthest thing from Camelot.<br />
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-Scott Manning (<a href="https://twitter.com/warpath" target="_blank">@warpath</a>)</div>
Scott Manninghttp://www.blogger.com/profile/14056767129400813590noreply@blogger.com1tag:blogger.com,1999:blog-2187373132267399530.post-35705534643384066912018-06-23T23:10:00.001-04:002018-06-23T23:10:01.556-04:00CFP Magic and Witchcraft on Stage and Screen Panel (6/27/2018; PAMLA 11/9-11/2018) <br />Extended deadline: Magic and Witchcraft on Stage and Screen <br /> <a href="https://call-for-papers.sas.upenn.edu/cfp/2018/06/01/extended-deadline-magic-and-witchcraft-on-stage-and-screen">https://call-for-papers.sas.upenn.edu/cfp/2018/06/01/extended-deadline-magic-and-witchcraft-on-stage-and-screen</a><br />
<br />deadline for submissions: June 27, 2018 <br /> <br />full name / name of organization: Pacific Ancient and Modern Language Association (PAMLA) <br /> <br />contact email: <a href="mailto:lgreene@ewu.edu">lgreene@ewu.edu</a> <br /> <br /> <br /><br />Deadline extended to June 27, 2018 <br /> <br /><br />Proposals are invited for a Special Session of PAMLA (Pacific Ancient and Modern Language Association) 2018, which will meet November 9-11, 2018, in Bellingham, Washington. The conference theme is “Acting, Roles, Stages,” and we will be contributing papers on ways in which magic and witchcraft have been represented dramatically over the centuries. <br /> <br /><br />In the 400 years between <i>Macbeth </i>and<i> Harry Potter</i>, the image of the witch has become more appealing and less frightening, more popular culture and less cultural nightmare. Magic has lost its association with conjuring demons and is portrayed as an innate or acquired skill, more mysterious than playing the piano but maybe not essentially different. Witches are not wicked, and magic is not a tool of the devil. This is a huge cultural shift. <br /><br /><br />This panel invites speakers in the fields of history, anthropology, drama, film, literature, and religious studies, as well as practitioners of magic and witchcraft, to contribute to our understanding of these phenomena and their changing roles in contemporary culture. Topics from film, drama, and literature might include but are not limited to the following:<br />
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<ul>
<li><i>Macbeth</i></li>
<li><i>Bell, Book, and Candle</i></li>
<li><i>Bewitched</i></li>
<li><i>Harry Potter</i></li>
<li><i>The Craft</i></li>
<li><i>Practical Magic</i></li>
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<br /> <br />Panel participants must join PAMLA BY July 1, 2018, and must register and pay for the conference by October 1, 2018. Please submit proposals through the PAMLA website at <a href="http://www.pamla.org/">www.pamla.org</a>.<br />
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The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0