New Scholarship from Arthuriana

From the latest number of Arthuriana:

Eden, Michael. "Representing: Sir Gawain and the Green Knight." Arthuriana, vol. 34 no. 2, 2024, p. 16-61. Project MUSE, https://doi.org/10.1353/art.2024.a932121.

This article explores what we can learn from creative responses to Sir Gawain and the Green Knight, which comprises a growing visual language, inclusive of the original images of the codex, the illustrations of popular translations, contemporary artworks that respond to the poem, and the recent film adaptation. (ME)

Rasmussen, Mark. "Tweaking the Tradition: Gawain as Perceval in David Lowery's The Green Knight." Arthuriana, vol. 34 no. 2, 2024, p. 62-78. Project MUSE, https://doi.org/10.1353/art.2024.a932122.

In The Green Knight, David Lowery's 2021 film version of the Middle English romance Sir Gawain and the Green Knight, Gawain is portrayed as a Perceval figure. Recognizing this aspect of Lowery's approach to the film allows for a fuller understanding of many of the choices that the director has made in crafting it and demonstrates the work's intricate engagement with the Arthurian tradition, both in writing and on film. (MR)

Trendy on The Green Knight

From the latest number of Arthuriana comes more on The Green Knight:

Tredy, Dennis. "‘The forme to the fynisment foldes ful selden’ (l.499): A Comparison of David Lowery’s Screenplay and His 2021 Film Adaptation The Green Knight." Arthuriana, vol. 34 no. 1, Spring 2024, pp. 21-44. Project MUSE, https://doi.org/10.1353/art.2024.a924597.

Abstract:

This study closely compares David Lowery’s film The Green Knight to his 2018 screenplay, detailing the many changes he made during two months of filming in 2019 and in post-production. These include changes due to location choices and budget, those regarding Lowery’s use of literary and cinematic subtexts, those made to his main characters (both male and female), and structural modifications distorting the linearity of the storyline. The analysis reveals Lowery’s organic filmmaking techniques, his changing priorities and how one’s vision at the outset of such an endeavor does indeed seldom match its final form.

Aronstein and Finke on Mrs. Davis

From the latest Arthuriana:

Aronstein, Susan and Laurie Finke. Review of Mrs. Davis, by Tara Hernandez and Damon Lindelof. Arthuriana, vol. 33 no. 4, 2023, p. 68-70. Project MUSE, https://doi.org/10.1353/art.2023.a915339.

Narayanan on The Green Knight

 From a recent issue of Arthuriana:

Narayanan, Tirumular (Drew). "'Why is He Indian?': Missed Opportunities for Discussing Race in David Lowery's The Green Knight (2021)." Arthuriana, vol. 33 no. 3, Fall 2023, p. 36-59. Project MUSE, https://doi.org/10.1353/art.2023.a910870.

Abstract:

This article explores the depiction of Gawain in The Green Knight (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)

Pugh on The Green Knight

Recently published in Arthuriana. Copies are available by subscription or from Project MUSE, if you're lucky enough to have access.


Pugh, Tison. "Seminal Semiotics and Pornographic Displeasures in David Lowery’s The Green Knight (2021)." Arthuriana, vol. 32 no. 3, Fall 2022, pp. 41-57. Project MUSE, doi:10.1353/art.2022.0030.

Abstract:

In The Green Knight, a cinematic adaptation of Sir Gawain and the Green Knight, 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.