transport: List of historical films set in Near Eastern and Western civilization

Evidence: 100 • authority: 72

Historical drama, or period drama is a film genre in which stories are based upon historical events and notable people. Some historical dramas are docudramas, which attempt to accurately portray a historical event or biography to the degree the available historical research will allow. Other historical dramas are fictionalized tales that are based on an actual person and their deeds, such as Braveheart, which is loosely based on the 13th-century knight William Wallace's fight for Scottish independence. Historical fantasy includes films that place legendary or historical figures into stylized or supernatural worlds while remaining rooted in a specific era of human history. Examples include 3…

Evidence: 29 • authority: 88

‘Now<i>you</i>are<i>Robin Hood: Prince of Thieves</i>™’: Intermedial Medievalism. Abstract The 1991 Robin Hood: Prince of Thieves console video game constitutes a significantly different vision of the Middle Ages than the blockbuster film upon which it was based. Prince of Thieves is one among a prolific tradition of Robin Hood-themed digital games, which produce anew a legend that has thrived across intermedial networks of representation since the Middle Ages. The game represents a desire to transform popular medievalist narratives into play formats, but also the entwined and invested relationship between Hollywood and the game industry over the last half-century. This article will analyse…

Evidence: 29 • authority: 88

Fantasy Feminism. A fantasy of feminism prevents modern cinematic portrayals of Robin Hood from regressing into obsolescence while ensuring patriarchal structures that define the legend are maintained. Kevin Reynolds’ Robin Hood: Prince of Thieves (1991) is a key example of this balance between feminist sensibility and the maintenance of the patriarchal status quo. This essay examines how the deliberate use of Joseph Campbell’s monomythic heroic framework enables the marginalization of Marian within the narrative of Prince of Thieves and preserves patriarchal practices within the Robin Hood legend. Joseph Campbell’s model of storytelling has been remarkably influential in Hollywood as a tou…

Evidence: 29 • authority: 88

Azeem and the Witch: Race, Disability, and Medievalisms in Robin Hood: Prince of Thieves. Robin Hood: Prince of Thieves was the second highest-grossing movie of 1991. Its fuzzy version of the Middle Ages invokes the Angevins only in cameo and revises a genre of medievalism I call ‘Robin Hood Times’. This medievalism claims a specific setting, usually during the reign of King Richard I, even while it generalizes that setting enough to comment on contemporary problems. In Prince of Thieves, the characters Azeem and Mortianna serve as opposites, their racialized bodies participating in an individualized discourse about race that ultimately upholds a neoliberal, ‘colorblind’ form of white supre…

Evidence: 24 • authority: 80

<i>Mouvance,</i> Greenwood, and Gender in <i>The Adventures of Robin Hood</i> and <i>Robin Hood: Prince of Thieves</i>

Evidence: 24 • authority: 80

Drowning in Ancient Greek History and Mythology