Filming the Middle Ages (review)

Abstract

125 reviews version of Perceforest is not addressed. However, at the end of her book, the author rejects the idea of any late interpolation (410). In the third chapter Ferlampin-Acher discusses the luiton (an elflike creature) Zéphir whose name figures in the title. She argues that Zéphir is Perceforest’s principal character who gives the narrative its coherence. The evolution of the luiton from a folkloric figure to a spirit announcing the virginal conception of Christ follows closely that of the romance from paganism to Christianity. More importantly for FerlampinAcher ’s main thesis, Zéphir assures the transfer from the Arthurian Brittany, well represented in the first part of the romance, to Philippe le Bon’s Burgundy. The author gives several examples from the text of problems and issues never discussed in the fourteenth century, but very much present in the second half of the fifteenth century, especially in Burgundy. She concludes that the fifteenth-century version of Perceforest composed by David Aubert has to be the original. Chapter 4 then provides a welcome and useful outline and summary of the rich and complex perspective developed in the previous chapters. There is certainly much to be praised in Christine Ferlampin-Acher’s book, beginning with the author’s impressive knowledge of medieval literature and history as well as her talent for close reading. Her unfailing enthusiasm for Perceforest shines through the book, making for a pleasant, if challenging, reading experience. At times, however, as the author herself openly recognizes, her analysis could have benefitted from less detail, repetition, and speculation. Ferlampin-Acher’s thesis that Perceforest was written in the fifteenth century and not earlier is well supported by her solid scholarship. One is surprised, therefore, by her lack of assertiveness in this regard, particularly in some of her conclusions. At the end of a long and thorough analysis, readers would expect the author to take a more definitive stand rather than declaring, for instance, that ‘rien ne permet d’être affirmatif; ces suggestions sont incontrôlables’ (108), or that her interpretation ‘n’apporte aucune certitude quant à la date’ (409). By being so careful and by respectfully acknowledging—and at times, seemingly agreeing with—those who have argued for an earlier date for Perceforest, she may be perceived as coming close to undermining her own argument.This being said, Ferlampin-Acher’s book is worthy of interest among the growing readership of this romance. Medievalists may disagree with her proposed dating of the romance, but they will certainly have to contend with her thoroughness and scholarship. By giving medievalists new tools to rethink their interpretation of Perceforest, Christine Ferlampin-Acher has written an important book. denyse delcourt University of Washington bettina bildhauer, Filming the Middle Ages. London: Reaktion Books Ltd, 2011. Pp. 264. ISBN: 978–1–86189–808–1. £25.00. Unfortunately, Bettina Bildhauer’s monograph delivers much less than it promises or than one might hope, given the repeated claims it makes. For instance, the dust reviews all.indd 125 3/7/12 11:38 AM 126 arthuriana jacket’s claim that it is ‘the first book to define medieval films as a group’ is simply balderdash. The repeated claims that the monograph will discuss several hundred films are also a bit disingenuous, depending upon how one defines the word discuss. And the multiple film stills used throughout the book are often too small, too out of focus, or both to be of much use as supplements to any points made about the films from which they come. Bildhauer’s announced intentions are to enter into the continuing critical dialogue about ‘medieval film,’ a dialogue dating at least from the 1950s, but one that has increased markedly since the 1990s. What interests Bildhauer is the attempt to expand our understanding of what constitutes a ‘medieval film,’ specifically a ‘German medieval film.’ Such an interest is, of course, valid and could add an interesting contribution to the ongoing dialogue. But again, we do get less than we are promised from this monograph. Individual chapters—‘The Non-linear Time of Medieval Film,’ ‘The Medieval Dead Reanimated,’ ‘Queer Time,’ ‘The Dangerous Power of Writing,’ ‘The Printing Press vs. the...