The Fantasy Of The Middle Ages

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. This volume aims to uncover the many reasons why the Middle Ages have proven so flexible—and applicable—to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition at the J. Paul Getty Museum at the Getty Center from June 21–September 11, 2022.

The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture.

For many, the middle ages depicted in Walt Disney movies have come to figure as the middle ages, forming the earliest visions of the medieval past for much of the contemporary Western (and increasingly Eastern) imagination. The essayists of The Disney Middle Ages explore Disney's mediation and re-creation of a fairy-tale and fantasy past, not to lament its exploitation of the middle ages for corporate ends, but to examine how and why these medieval visions prove so readily adaptable to themed entertainments many centuries after their creation. What results is a scrupulous and comprehensive examination of the intersection between the products of the Disney Corporation and popular culture's fascination with the middle ages.

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. This volume aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022.

In this book, Michael Cramer views the Society for Creative Anachronism (SCA), an organization that studies and recreates the middle ages, as a case study for a growing fascination with medieval fantasy in popular culture. He explores the act of medieval re-creation as performance by focusing on the SCA, describing the group's activities, investigating its place in popular culture, and looking at the SCA not so much as a historical society but as an on-going work of performance art; a postmodern counter-culture riff on what it means to be "medieval." Cramer examines the group's activities, from persona and character development to theatrical performance and personal interaction; from the complex official ceremonies to full contact armored combat with mock broadswords. He explores the SCA in detail to discover how its members adapt and employ ideas about the Middle Ages in performance, ritual reenactment, living history, and re-creation, analyzing the performance of identity through ritual, sport, drama, and personal interaction, and he focuses on the reconstruction of the medieval "king game," a game in which a mock king is chosen to reign over a mock court. The book also studies various ideas about medievalism, including the contrast between reenactment and re-creation, and places these activities in the context of contemporary American society. With three appendixes, a bibliography, and a selection of photos, Cramer demonstrates how and why medieval fantasy is increasingly used in popular culture and analyzes the dissatisfaction with contemporary culture that leads people into these realms of fantasy.

"The beauty and levity that Perry and Gabriele have captured in this book are what I think will help it to become a standard text for general audiences for years to come….The Bright Ages is a rare thing—a nuanced historical work that almost anyone can enjoy reading.”—Slate "Incandescent and ultimately intoxicating." —The Boston Globe A lively and magisterial popular history that refutes common misperceptions of the European Middle Ages, showing the beauty and communion that flourished alongside the dark brutality—a brilliant reflection of humanity itself. The word “medieval” conjures images of the “Dark Ages”—centuries of ignorance, superstition, stasis, savagery, and poor hygiene. But the myth of darkness obscures the truth; this was a remarkable period in human history. The Bright Ages recasts the European Middle Ages for what it was, capturing this 1,000-year era in all its complexity and fundamental humanity, bringing to light both its beauty and its horrors. The Bright Ages takes us through ten centuries and crisscrosses Europe and the Mediterranean, Asia and Africa, revisiting familiar people and events with new light cast upon them. We look with fresh eyes on the Fall of Rome, Charlemagne, the Vikings, the Crusades, and the Black Death, but also to the multi-religious experience of Iberia, the rise of Byzantium, and the genius of Hildegard and the power of queens. We begin under a blanket of golden stars constructed by an empress with Germanic, Roman, Spanish, Byzantine, and Christian bloodlines and end nearly 1,000 years later with the poet Dante—inspired by that same twinkling celestial canopy—writing an epic saga of heaven and hell that endures as a masterpiece of literature today. The Bright Ages reminds us just how permeable our manmade borders have always been and of what possible worlds the past has always made available to us. The Middle Ages may have been a world “lit only by fire” but it was one whose torches illuminated the magnificent rose windows of cathedrals, even as they stoked the pyres of accused heretics. The Bright Ages contains an 8-page color insert.

This book explores the role of music in the some five hundred feature-length films on the Middle Ages produced between the late 1890s and the present day. Haines focuses on the tension in these films between the surviving evidence for medieval music and the idiomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off-screen to a minstrel singing his song. Medieval film music must be considered in the broader historical context of pre-cinematic medievalisms and of medievalist cinema’s main development in the course of the twentieth century as an American appropriation of European culture. The book treats six pervasive moments that define the genre of medieval film: the church-tower bell, the trumpet fanfare or horn call, the music of banquets and courts, the singing minstrel, performances of Gregorian chant, and the music that accompanies horse-riding knights, with each chapter visiting representative films as case studies. These six signal musical moments, that create a fundamental visual-aural core central to making a film feel medieval to modern audiences, originate in medievalist works predating cinema by some three centuries.

Grab your magical sword and take the place of your favorite fantasy character with this fun and historically accurate how-to guide to solving epic quests. What should you ask a magic mirror? How do you outwit a genie? Where should you dig for buried treasure? Fantasy media’s favorite clichés get new life from How to Slay a Dragon: A Fantasy Hero’s Guide to the Real Middle Ages, a historically accurate romp through the medieval world. Each entry presents a trope from video games, books, movies, or TV—such as saving the princess or training a wizard—as a problem for you to solve, as if you were the hero of your own fantasy quest. Through facts sourced from a rich foundation of medieval sources, you will learn how your magical problems were solved by people in the actual Middle Ages. Divided into thematic subsections based on typical stages in a fantastical epic, and inclusive of race, gender, and continent, How to Slay a Dragon is perfect if you’re curious to learn more about the time period that inspired some of your favorite magical worlds or longing to know what it would be like to be the hero of your own mythical adventure.