Queer Movie Medievalisms

Abstract

Contents: Introduction: queer history, cinematic medievalism, and the impossibility of sexuality, Kathleen Coyne Kelly and Tison Pugh The law of the daughter: queer family politics in Bertrand Tavernier's La Passion BA(c)atrice, Lisa Manter Queering the Lionheart: Richard I in The Lion in Winter on stage and screen, R. Barton Palmer 'He's not a ardent suitor, is he, brother?': Richard the Lionheart's ambiguous sexuality in Cecil B. DeMille's The Crusades (1935), Lorraine Kochanske Stock 'In the company of Orcs': Peter Jackson's queer Tolkien, Jane Chance The Eastern Western: camp as a response to cultural failure in The Conqueror, Anna Klosowska 'In my own idiom': social critique, campy gender, and queer performance in Monty Python and the Holy Grail, Susan Aronstein Performance, camp, and queering history in Luc Besson's Jeanne d'Arc, Susan Hayward Sean Connery's star persona and the queer Middle Ages, Tison Pugh Will Rogers' pink spot: A Connecticut Yankee (1931), Kathleen Coyne Kelly Danny Kaye and the 'fairy tale' of queerness in The Court Jester, Martha Bayless Mourning and sexual difference in Hans-JA rgen Syberbergs's Parsifal, Michelle Bolduc Superficial medievalism and the queer futures of film, Cary Howie Afterword, Glenn Burger and Steven F. Kruger Index.

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