Tuesday, June 27, 2017

King Arthur: Legend of the Sword Review by Diak

A perceptive review of King Arthur: Legend of the Sword by academic film scholar Nicholas Diak at Fanbase Press. It can be accessed at http://www.fanbasepress.com/index.php/press/reviews/item/7738-king-arthur-legend-of-the-sword-film-review.

CFP Arthurian Session at NeMLA 2018

Arthurian Legend in the 20th & 21st Centuries

Arthurian Legend in the 20th & 21st Centuries

deadline for submissions: 
September 29, 2017
full name / name of organization: 
Northeast Modern Language Association
contact email: 
Imagining Arthurian Legend in the 20th and 21st Centuries
Nostalgia for an imagined and glorious past has influenced the evolution of stories about King Arthur and his court for centuries.  According to the moods and needs of the period, new characters were added to demonstrate or question the excellence of these paragons, or to replace those who had perhaps become too human or simply gone out of style.  New plot motifs, such as the search for the grail and Lancelot’s love for Guinevere became part of the legend.
The past hundred years has brought the legend of King Arthur to Broadway, television, comedy, and Disney; countless authors have appropriated or reimagined the legend and elements from it. How have films, television shows, games, comics, and books for all audiences and ages employed Arthurian characters, themes, motifs, and plots? How have these changes reflected shifting cultural attitudes and values?  What do recent retellings and appropriations of Arthurian legend tell us about ourselves and the generations immediately preceding us?  What do we want and need from King Arthur and his court?
 Please submit abstracts via the NeMLA website http://www.buffalo.edu/nemla/convention.html
https://call-for-papers.sas.upenn.edu/cfp/2017/05/27/arthurian-legend-in-the-20th-21st-centuries

Arthurian Legend in the 20th & 21st Centuries

deadline for submissions: 
September 29, 2017
full name / name of organization: 
Northeast Modern Language Association
contact email: 
Imagining Arthurian Legend in the 20th and 21st Centuries
Nostalgia for an imagined and glorious past has influenced the evolution of stories about King Arthur and his court for centuries.  According to the moods and needs of the period, new characters were added to demonstrate or question the excellence of these paragons, or to replace those who had perhaps become too human or simply gone out of style.  New plot motifs, such as the search for the grail and Lancelot’s love for Guinevere became part of the legend.
The past hundred years has brought the legend of King Arthur to Broadway, television, comedy, and Disney; countless authors have appropriated or reimagined the legend and elements from it. How have films, television shows, games, comics, and books for all audiences and ages employed Arthurian characters, themes, motifs, and plots? How have these changes reflected shifting cultural attitudes and values?  What do recent retellings and appropriations of Arthurian legend tell us about ourselves and the generations immediately preceding us?  What do we want and need from King Arthur and his court?
 Please submit abstracts via the NeMLA website http://www.buffalo.edu/nemla/convention.html
deadline for submissions: September 29, 2017
full name / name of organization: Northeast Modern Language Association
contact email: saustin@landmark.edu

Imagining Arthurian Legend in the 20th and 21st Centuries

Nostalgia for an imagined and glorious past has influenced the evolution of stories about King Arthur and his court for centuries.  According to the moods and needs of the period, new characters were added to demonstrate or question the excellence of these paragons, or to replace those who had perhaps become too human or simply gone out of style.  New plot motifs, such as the search for the grail and Lancelot’s love for Guinevere became part of the legend.

The past hundred years has brought the legend of King Arthur to Broadway, television, comedy, and Disney; countless authors have appropriated or reimagined the legend and elements from it. How have films, television shows, games, comics, and books for all audiences and ages employed Arthurian characters, themes, motifs, and plots? How have these changes reflected shifting cultural attitudes and values?  What do recent retellings and appropriations of Arthurian legend tell us about ourselves and the generations immediately preceding us?  What do we want and need from King Arthur and his court?

 Please submit abstracts via the NeMLA website http://www.buffalo.edu/nemla/convention.html



Last updated May 30, 2017

Sunday, June 25, 2017

On the Watch: Hellboy vs the Blood Queen

Mike Mignola, creator of the Hellboy series, has recently announced the reboot of the Hellboy film franchise with the upcoming film Hellboy: Rise of the Blood Queen due out in 2018.


There has not been any information released with regards to the plot, but one character in the Hellboy comic referred to as the "Queen of Blood" was a version of Nimue from the Arthurian legends (details at http://hellboy.wikia.com/wiki/Queen_of_Blood). She was featured in a three-series arc that linked Hellboy intimately to the Matter of Britain (see Nathan Harmon's overview at http://sequart.org/magazine/18659/the-sword-in-the-stone-hand-the-arthurian-trends-in-hellboy/). Perhaps this is the story that will unfold in the film.


Bibliography Building: Transformers: The Last Knight

Again, here are the discussions I've come across so far related to Transformers: The Last Knight:



DISCUSSIONS:

Breznican, Anthony. “Transformers: The Last Knight.” Entertainment Weekly 28 April/5 May 2017: 52-53.

“Coming Soon.” Total Film July 2017: 49. 

Farley, Jordan. “Top of the Bots.” Total Film July 2017: 11-13. 

Grove, David. “Hidden History.” SCI FI Magazine August 2017: 56-59.

Bibliography Building: King Arthur: Legend of the Sword

Here are some articles I've come across about King Arthur: Legend of the Sword:



DISCUSSIONS:

Caranicas, Peter. “From Westeros to Realm of King Arthur's Britain.” Variety 19 Aug. 2014: 123. [Int. with Gemma Jackson, production designer]

Chandler, Abigail. “Warrior King.” SciFiNow No. 132 (2017): 56-59.

Crowther, Jane. “Rookie to King.” Total Film June 2017: 70-75.

McNary, Dave. “Arthur on WB Table.” Variety 10 Mar. 2010: 10.

Sullivan, Kevin P. “The Good Knight.” Entertainment Weekly 19 May 2017: 22. [Profile of actor Djimon Hounsou]

- - -. “King Arthur: Legend of the Sword.” Entertainment Weekly 22 July 2016: 50-51.

- - -. “King Arthur: Legend of the Sword.” Entertainment Weekly 28 Apr / 5 May 2017: 40.

- - -. “A New King Will Rise.” Entertainment Weekly 27 Jan. 2017: 34-37.

- - -. “The Sword and the Stone-Cold Fox.” Entertainment Weekly 31 July 2015: 20-27.

Tuesday, June 20, 2017

Can Michael Bay Save Camelot?

Even on the eve of its release, there are still very few details on the plot of Transformers: The Last Knight (perhaps a good thing in light of the reception of Guy Ritchie's King Arthur: Legend of the Sword that bowed last month), and there seem to be no paratextual apparatus besides the toys.

More details to follow as/if they become available.

Sunday, June 18, 2017

Kalamazoo 2018 Update

The Alliance proposed the following roundtable for the 2018 International Congress on Medieval Studies. I have just learned today that our proposal was rejected.

Michael A.Torregrossa
Founder




Does the Matter of Britain (Still) Matter?:
Reflections on the State of Arthurian Studies Today (A Roundtable)
            The Arthurian legend is now over a millennium and a half old and continues to inspire new creative works each year. However, texts with widespread distribution and/or lasting impact are rare. Consequently, the Matter of Britain now seems very distant from our daily lives.
            The purpose of this session is to explore the reasons for this separation of the stories of Arthur from the popular consciousness. In conceiving this session, we are interested in exploring the answers to several questions. First, why has the Matter of Britain—once an important part of what J. R. R. Tolkien has termed “the cauldron of story”—now become something that is sampled by few artists with the means to promote their work to the larger segment of the global population that once devoured such stories with enthusiasm? Continuing with this idea, do these works, when noticed, not receive acclaim simply because of their creators’ failure to overcome what Norris J. Lacy has termed the “tyranny of tradition” and produce something that is both recognizable and innovative, or has the legend truly become a niche brand, a fascination to a few cognoscenti but something totally off the radar of most individuals? Similarly, when versions of the legend are produced by individuals with the means to create something that transcends the financial and distributive restrictions that hold back other works (and that might thus have the potential to shape how the current generation perceives the Arthurian story), why do they so often not succeed? Have these creators also simply failed to negotiate the tyranny of tradition, or are audiences at large just not interested in Arthur and all that he represents anymore? Lastly, if the legend no longer appeals, what is the future of Arthurian Studies (and Arthurian scholars) in the remainder of the twenty-first century? Should we entrench ourselves and hope for the best, or can we fight for our field and the glory that was Camelot?

The Alliance for the Promotion of Research on the Matter of Britain is dedicated to study and debate of the representations of the Arthurian legends in all their forms as produced from the Middle Ages through tomorrow. In various incarnations, our organization has been in existence since 2000.