The Disney Middle Ages

1. Front Matter

   Pages i-xv

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2. Introduction Disney’s Retroprogressive Medievalisms: Where Yesterday is Tomorrow Today

   1. Introduction Disney’s Retroprogressive Medievalisms: Where Yesterday is Tomorrow Today

      • Tison Pugh

      Pages 1-18

3. Building a Better Middle Ages: Medievalism in the Parks

   1. Front Matter

      Pages 19-19

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   2. Mapping the Happiest Place on Earth: Disney’s Medieval Cartography

      • Stephen Yandell

      Pages 21-38

   3. Disney’s Castles and the Work of the Medieval in the Magic Kingdom

      • Martha Bayless

      Pages 39-56

   4. Pilgrimage and Medieval Narrative Structures in Disney’s Parks

      • Susan Aronstein

      Pages 57-74

4. The Distorical Middle Ages

   1. Front Matter

      Pages 75-75

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   2. “You don’t Learn It Deliberately, But You Just Know It from What You’ve Seen”: British Understandings of the Medieval Past Gleaned from Disney’s Fairy Tales

      • Paul Sturtevant

      Pages 77-96

   3. The Sorcerer’s Apprentice: Animation and Alchemy in Disney’s Medievalism

      • Erin Felicia Labbie

      Pages 97-113

   4. The Sword in the Stone: American Translatio and Disney’s Antimedievalism

      • Rob Gossedge

      Pages 115-131

   5. Walt in Sherwood, or the Sheriff of Disneyland: Disney and the Film Legend of Robin Hood

      • Kevin J. Harty

      Pages 133-152

   6. Futuristic Medievalisms and The U.S. Space Program in Disney’s Man in Space Trilogy And Unidentified Flying Oddball

      • Amy Foster

      Pages 153-167

5. Disney Princess Fantasy Faire

   1. Front Matter

      Pages 169-169

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   2. “Where Happily Ever After Happens Every Day”: The Medievalisms of Disney’s Princesses

      • Clare Bradford

      Pages 171-188

   3. Disney’s Medievalized Ecologies in Snow White and the Seven Dwarfs and Sleeping Beauty

      • Kathleen Coyne Kelly

      Pages 189-207

   4. The United Princesses of America: Ethnic Diversity and Cultural Purity in Disney’s Medieval Past

      • Ilan Mitchell-Smith

      Pages 209-224

   5. Esmeralda of Notre-Dame: The Gypsy in Medieval View from Hugo to Disney

      • Allison Craven

      Pages 225-242

   6. Reality Remixed: Neomedieval Princess Culture in Disney’s Enchanted

      • Maria Sachiko Cecire

      Pages 243-259

6. Back Matter

   Pages 261-283

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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.

• film
• kingdom
• Middle Ages

"This collection of fourteen essays provides a balanced and often quite witty assessment of Disney's films, TV shows, marketing strategies, theme parks, personal philosophies, pedagogy, social and political practices of Walt Disney and his Corporate Legacy . . . The collection speaks well to a scholarly audience, while, at the same time, addressing intelligently a broader audience that includes virtually anyone who has ever seen a Disney movie or TV program or been to a theme park - that is, about everyone who has grown up in America or elsewhere. The bibliography is excellent." - Medievally Speaking

"The book offers an extensive as well as absorbing survey of Disney's efforts to exploit and keep up with the American tendency to forget the past." - The Medieval Review

"The volume is grounded in theory and the scholarship is of a high standard while also being accessible, and individual chapters may be useful at undergraduate level. It will be of interest not only toscholars of medievalism, but to those working in gender studies and popular culture studies more broadly as well." - Parergon

Susan Aronstein, University of Wyoming, USA Martha Bayless, University of Oregon, USA Clare Bradford, Deakin University, USA Maria Sachiko Cecire, Bard College, USA Allison Craven, James Cook University of North Queensland, Australia Amy Foster, University of Central Florida, USA Robert Gossedge, Cardiff University, UK Kevin J. Harty, La Salle University, USA Kathleen Coyne Kelly, Northeastern University, USA Erin Felicia Labbie, Bowling Green State University, USA Ilan Mitchell-Smith, California State University at Long Beach, USA Tison Pugh, University of Central Florida, USA Paul Sturtevant, University of Leeds, UK Stephen Yandell, Xavier University ,UK.

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