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Medieval and Early Modern Film and Media contextualizes historical films in an innovative way - not only relating them to the history of cinema, but also to premodern and early modern media. This philological approach to the (pre)history of cinema engages both old media such as scrolls, illuminated manuscripts, the Bayeux Tapestry, and new digital media such as DVDs, HD DVDs, and computers. Burt examines the uncanny repetitions that now fragment films into successively released alternate cuts and extras (footnote tracks, audiocommentaries, and documentaries) that (re)structure and reframe historical films, thereby presenting new challenges to historicist criticism and film theory. With a double focus on recursive narrative frames and the cinematic paratexts of medieval and early modern film, this book calls our attention to strange, sometimes opaque phenomena in film and literary theory that have previously gone unrecognized.

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The New Errat/a/i/cism: Philology, Film Theory, and Psychoanalysis The Medieval and Early Modern Cinemato-Graphosphere The Schlock of the Medieval: Of Manuscript and Film Prologues, Paratexts, and Parodies Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences The Passion of El Cid and the Circumfixion of Cinematic History: Stereo-Typology / Phanto-Mimesis / Cryptomorphoses Tele-Typing Cinematic History: The Religious Film Epic, Philology, and Wounding Writing K/Irakqing Up the Crusades: The Uncanny Mises-hors-scène of Kingdom of Heaven´s Double DVDs Le détour de Martin Guerre: Anec-notes of Historical Film Advisors, Archival Aberrations, and the Uncanny Subject of the Academic Paratext Anec-Post-It-Note to Self: Freud, Greenblatt, and the New Historicist Uncanny

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Richard Burt is Professor of English and Film and Media Studies at the University of Florida, USA.

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