The Sorceress: The Medieval Movie Night

Witchcraft women often distinguished themselves by, for example, physical disability, poverty, old age, and onerous greediness - in the eyes of people accusing them; it was an extra justification for their actions. The authors of "Malleus maleficarum" wrote in it about "the witches' heroes, not the wizards, they do not mean much." According to the authors, witchcraft was supposed to be used primarily by women who are naturally more reckless and more prone to body temptation than men, and they are characterized by "less faith." In their belief, the lesser faith was indicated by the etymology of the word woman, or "femina". The word was divided into "fe" and "mina", where "fe" was "fides" and "mina" was "minus".

One of the world’s best known stories is that of Cinderella. Variations of this tale exist in cultures all across the world from Spanish America to Russia to Vietnam, and it has been pulled apart and reimagined into several different forms on the page, stage, and screen. But the incarnation of the story that is probably the most familiar is the one by Charles Perrault, with its signature Fairy Godmother and glass slippers. Despite being published in 1697, it is still popular enough that it was remade for the umpteenth time earlier this year. While the tale obviously has a timeless appeal, its ideological assumptions do not go unchallenged by modern writers. Sara Maitland’ s The Wicked Stepmother’s Lament criticizes how Perrault celebrates

In an examination of the narrative titled The Knight’s Tale by Shakespeare and Fletcher, and the film A Knight’s tale, directed by Helgeland, it is clear that the novel has been changed to better suit modern purposes. Although, having been altered both the narrative and the film offers a clear description of gender plays a role in society and the extent that anachronism is used to relay meaning throughout the film. A clear demonstration of anachronism has been made in order to help suit the modern needs of the film.

In this book Carol Karlsen reveals the social construction of witchcraft in 17th century New England, and brings forth the portrait of gender in the New England Society.

Bever clarifies why he believes historians often focus only on the rise of witchcraft rather than their decline. He believes the reason this occurs is because, historians assume “their defeat seemed self-evident” (Bever, 2009, p. 264). The author explains how the rise of witches occurred, “chain-reaction trials started with a few stereotyped suspects but gradually widened to include previously unsuspected commoners and eventually friends” (Bever, 2009, p. 272). Bever also gives discusses of how witchcraft came to affect the society and how it became “an integral part of late medieval culture and society” (Bever, 2009, p. 288). The work relates more specifically to the field of the first centuries of colonization because, although some ideas presented in this article can be inferred, most are not that of the general

Through intertextual relationships, detecting the significant differences and transformations between William Shakespeare's play Taming of The Shrew, and Ten Things I Hate About You, a contemporary hollywood film directed by Gil Junger enriches our understandings towards cultural issues through feminist attitudes, social hierarchy and the transformation in sentiments towards love and marriage. Both texts exert compelling issues through different techniques to proclaim to the audience that women during the 16th century were seen as obsequious, however Ten Things I Hate About You, an allusion of Taming of the Shrew, enriches our understanding of these gender role issues by proclaiming that we must reject blatant consumerism. Among this, issues of class and love are explored, and through a historical reading I was able to depict the changes in values and cultures between the production of both texts.

The theatrical play of ‘The Taming of the Shrew’ (1594) and the live action film ’10 Things I Hate About You’ (1999) are clearly similar in many ways (as the drama film is a modern adaptation of the classic Shakespearean text), these similarities can be recognized through themes which point out scenes, quotes and/or effects both text types share with each other. Themes include, Gender Politics/Roles, Romantic Relationships and Social Hierarchy (social status/class). The themes of Gender Politics and Social Hierarchy support the precisely represented similarities both text types share, highlighting the enduring provenance of these concerns over time.

The extent to which the Lais of Marie de France can be categorized as fairy tales is dependent on the definition of “fairy tale.” Using various scholars’ definitions of “fairy tale” and conceptions of the fairy tale genre, criteria for “fairy tales” arises. Then, close-readings of three lais, “Guigemar”, “Lanval” and “Yonec”, are used as a mechanism for meeting or failing the criteria. This methodology is then evaluated and problematized. The criterion for fairy tales includes origin, form, content, style, and meaning. Etymologically, the word ‘fairy tale’ has disputed origins. Supposedly, it comes from the French “contes des fees” or “tales about fairies”, popular in French courts and salons in the seventeenth century. However, Jack Zipes argues that “conte féerique” actually translates to “fairy tales” and refers to narrative form, rather than content.

Reginald Scot explores the common perceptions towards witches in the late sixteenth century, which he claims they were commonly old, lame, full of wrinkles, poor (Levack 2004: ?), although not necessarily solitary (Larner 1984: 72). Scot claims that their appearance often caused alarm among many in the community and caused the neighbours to find truth in witches utterings. One could argue women were often ascribed with such stereotypes, for they were both physically and politically weakened, and were unable to distance themselves from accusations (levack 1984: 127). It is apparent the oppression of these women could represent an attempt to maintain hegemony in a patriarchal society in the late sixteenth century. Coincidentally, most women accused of sorcery often lived out of the constraints of male authority, where they would live alone, perhaps for the rest of her life.

The witchcraft phenomenon of the Renaissance period was shaped by a wide range of cultural factors; witchcraft was not necessarily subject to a single cohesive idea or concept, and it was often instead a conglomeration of many different societal concerns, concerns which spanned through all spheres of society. Textual evidence from this period provides insight into the way in which witches were conceived, and how witches were dealt with, while visual images present a companion visualisation of the tensions, which influenced created the witch, and the imagery, which came to be associated with witchcraft.

Act of oblivion “Women and Explanations for European Witchcraft Beliefs in the 16th and 17th Century.” (2003)

One of the main factors in the persecution of witches comes from the men of the time’s misogynistic attitudes. During this time, women were beginning to take more prominent roles in society, like the notable humanist Christine de Pizan or “The First Lady of the Renaissance,”

In this essay, I will be examining how the representation of power and powerlessness in Pan’s Labyrinth are relevant to the representation of fantasy throughout the film. There will be a larger focus on the power and the powerlessness of Ofelia and her authority figures. Having the perspective of the child is a good representation of power and powerlessness. As a child, Ofelia, still has her innocence. They still believe in everything from the tooth fairy to magic.

Fairy tales have been told for years and have been adjusted as authors see fit to portray their particular message or create a more applicable story for a new culture or era. At times, these tales remain true to their purpose even when written in different. By specifically evaluating the purpose, moral, and characters within two versions, Brothers Grimm’s titled “Briar Rose” and Charles Perrault’s “Sleeping Beauty in the Wood,” an understanding of their relevance can be distinguished. These versions of Sleeping beauty act as one of these tales though “many…have done their best to make her story go away” (Tartar). Although written in an earlier era, Brothers Grimm’s “Briar Rose” and Charles Perrault’s “Sleeping Beauty in the Wood” work effectively on a modern teenage and young adult audience evident in the similar purpose through their tale’s distinct morals and character portrayal.

When one thinks of the word medieval, there appear to be almost an instantaneous reaction. Some may see the period associated with the gothic architecture, Crusades, brutalism, death, the Black Plague, illiteracy, or the Dark Ages. Others may interpret the period as one full of valiant knights, princesses waiting to be saved, jousting, castles, and noble kings and queens. From video games such as The Legend of Zelda and the popular HBO television series A Game of Thrones, to accounts of medieval torture or treatment in the newspapers, the Middle Ages seems to be more relevant than ever. However, it can be argued that much about what we know about the real Middle Ages was constructed in the nineteenth century due to a comparative lack of records and the imaginative portrayal of the period by the Victorians. Due to the tumultuous period that was the Industrial Revolution, many social critics and artists turned back to the Middle Ages in order to reflect their anxieties of the present and the hopes and expectations of the future. I began to note that the medievalist movement was built upon medieval studies through a desire to create, rather than retrieve the past, which in turn lead to academic debates about authenticity and furthered the tension between the two fields leading to an almost insurmountable break. Those in medieval studies look towards medievalism as a misguided attempt to contemplate history which in turn changed the public’s understanding towards the era away