Representing the Middle Ages in Film
Session Organizer: Kristin Bovaird-Abbo
Session Chair: Becky Miller, University of Kansas
Dept. of English, University of Kansas
1445 Jayhawk Blvd., Lawrence, KS 66045
millerbe@ukans.edu

An Alternative Grail King: Lancelot in John Boorman’s Excalibur

While Norris Lacy and others have identified Arthur as the Fisher King in John Boorman’s 1981 Excalibur, I would like to offer another possibility: Lancelot. The first time that the Grail is mentioned in the film’s dialogue occurs once Arthur is struck by lightning; the virile king, along with the land, lapses into sickness until he drinks from the chalice and regains his former strength. However, we are introduced visually to the Grail motif with Lancelot’s first appearance. Not only does Lancelot stand apart from the other knights by his shiny, perfect armor, but he alone bears the Grail insignia on his breastplate and shield. We must also consider that in Wolfram von Eschenbach’s Parzival, Anfortas is merely the steward of the Grail, and that he is wounded after he transgresses through his participation in courtly love. Likewise, Lancelot is subject to a higher authority—Arthur—and while his wound is not a phallic one, he receives it once he removes his armor, effectively abandoning his obligation to the Grail, and admits his love for Guinevere. By replacing Arthur with Lancelot as the Grail King, Boorman offers new insight into the downfall of Arthur’s Camelot.

Kristin Bovaird-Abbo
University of Kansas
kabbo@ku.edu

The Problems and Promises of Teaching Medieval Literature Through Film

Nearly all literature instructors turn to “movie days” at some point during their teaching to supplement the work that occurs in a classroom. Whatever the literary text studied, bringing film into the classroom forces an instructor to balance the pedagogical problems inherent in employing movies with the possible benefits of this teaching strategy. Using film adaptations of medieval literary works presents even more problems than generally associated with employing film in a literature class. The scarcity of film versions of medieval works itself forces instructors either to use very flawed films or to have no films at their disposal. What commercially-produced films are available often vary so much from the original medieval work that their classroom use produces an intellectual “free day” for students, while films produced specifically for academic use can present a “true” version of the literary work that induces boredom instead of engagement. This paper will consider the problems of employing film as a tool to teach medieval literature and will offer possible approaches to using film in the classroom that can help instructors realize the promise that films offer as a pedagogical tool.

Geneva M. Diamond
University of Kansas
genevad@ku.edu

Becket: Historical Context for The Canterbury Tales?

The events leading to and surrounding the death of Thomas à Becket, Archbishop of Canterbury, are presented in the 1964 film Becket. As one of at least three films about this famous murder, Becket provides an interpretation of the historical situation in medieval England, and specifically of Becket’s relationship with King Henry.  This film can serve a positive role in the classroom as a pedagogical tool both for providing context for students of Geoffrey Chaucer’s The Canterbury Tales and for allowing students to question the historical accuracy of interpretations.

Karla Knutson
University of Kansas
knutson@ku.edu