-
Notifications
You must be signed in to change notification settings - Fork 0
/
Copy pathcase-study-2.html
1072 lines (1071 loc) · 45.8 KB
/
case-study-2.html
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
<!DOCTYPE html>
<html xmlns="http://www.w3.org/1999/xhtml" lang="" xml:lang="">
<head>
<meta charset="UTF-8" />
<meta name="viewport" content="width=device-width, initial-scale=1.0" />
<title>Robin Hood Films</title>
<link rel="stylesheet" href="./assets/styles/styles_chapters.css" />
<link rel="preconnect" href="https://fonts.googleapis.com" />
<link rel="preconnect" href="https://fonts.gstatic.com" crossorigin />
<link
rel="stylesheet"
href="https://fonts.googleapis.com/css2?family=EB+Garamond:wght@400..800&family=Syne:wght@700&display=swap"
/>
<link
rel="apple-touch-icon"
sizes="180x180"
href="../assets/images/favicons/apple-touch-icon.png"
/>
<link
rel="icon"
type="image/png"
sizes="32x32"
href="../assets/images/favicons/favicon-32x32.png"
/>
<link
rel="icon"
type="image/png"
sizes="16x16"
href="../assets/images/favicons/favicon-16x16.png"
/>
<link rel="manifest" href="../assets/images/favicons/site.webmanifest" />
<link
rel="mask-icon"
href="../assets/images/favicons/safari-pinned-tab.svg"
color="#5bbad5"
/>
<meta name="msapplication-TileColor" content="#da532c" />
<meta name="theme-color" content="#ffffff" />
</head>
<body>
<header>
<nav>
<ul>
<li><a href="index.html">Home</a></li>
<li>
<a class="nav_li_active" href="case-studies.html">Case studies</a>
</li>
<li><a href="./gallery/gallery.html">Gallery</a></li>
<li>
<a href="./visualization/visualization.html">Data visualization</a>
</li>
</ul>
</nav>
</header>
<div class="main_container">
<h2 class="header_chapters">Case study:<br />Robin Hood Films</h2>
<div class="content_chapters">
<p><a class="content_anchors" href="#introduction">Introduction</a></p>
<p>
<a class="content_anchors" href="#data-analyzed">Data analyzed</a>
</p>
<p><a class="content_anchors" href="#analysis">Analysis</a></p>
<p>
<a class="content_anchors" href="#classification">Classification</a>
</p>
<p>
<a class="content_anchors" href="#script-examples">Script Examples</a>
</p>
</div>
<section>
<h3 id="introduction">Introduction</h3>
<p>
The image of a brave protagonist who takes money from the rich and
gives it to the poor is firmly embedded in cinema. It is no
exaggeration to say that Robin Hood has featured hundreds of times on
the screen, both in episodes in other films and as the main character.
Robin Hood’s literary history is also extensive, spanning several
hundred centuries. In the earliest surviving ballads, recorded in the
1450s, he appears as an “anti-authoritarian trickster”<a
href="#fn1"
class="footnote-ref"
id="fnref1"
role="doc-noteref"
><sup>1</sup></a
>
who robbed corrupt church officials. However, unlike many other
characters, he has several literary fathers – most famously Walter
Scott, Thomas Love Peacock, Lord Tennyson, John Keats, and Alexandre
Dumas. Romanticism brought several portraits of the legendary hero. It
was only a matter of time before a cinematic incarnation appeared.
Because of the abundance of sources on the hero’s adventures, Thomas
Leitch suggests that the most authoritative are his film incarnations,
which he wittily calls “copies of a nonexistent original”<a
href="#fn2"
class="footnote-ref"
id="fnref2"
role="doc-noteref"
><sup>2</sup></a
>. The numerous films about Robin Hood are fertile ground for research
on the history of cinema and medievalism. What do the title cards of
the films in the database reveal to the audience? What and how do they
suggest about the historical period?
</p>
<h3 id="data-analyzed">Data analyzed</h3>
<p>
The database contains eight films built around the figure of Robin
Hood. The earliest is dated 1938, the latest 1960. Only one film in
the selection, <em>Tales of Robin Hood</em> (1951), is black and
white. Six of the films are from the United States, half of which were
produced by Columbia Pictures, and only the last two were made in the
United Kingdom. George Sherman directed two films,
<em>The Bandit of Sherwood Forest</em> (1946) for Columbia Pictures,
and <em>Son of Robin Hood</em> (1958). The screenplays of only two of
the films have a literary basis – the 1941 novel “Son of Robin Hood”
by Paul Castleton and the 1873 “The Prince of Thieves” by Alexandre
Dumas<a
href="#fn3"
class="footnote-ref"
id="fnref3"
role="doc-noteref"
><sup>3</sup></a
>. The chronological framework of the narrative is blurred: the action
takes place in the 12th and 13th centuries, to be understood both by
implication (mention of the Crusades and King Richard I) and mentioned
directly in the prologue. This framework is rooted in a single source,
a brief biography of Robin Hood written by Scottish chronicler, John
Major, in his 1521 “Historia Majoris Britanniae”<a
href="#fn4"
class="footnote-ref"
id="fnref4"
role="doc-noteref"
><sup>4</sup></a
>. There is no other evidence of the hero’s life during the reign of
Richard the Lionheart or his brother John. John Aberth offers several
candidates for the role of Robin Hood’s prototype, the most suitable
of whom lived in the first half of the 14th century<a
href="#fn5"
class="footnote-ref"
id="fnref5"
role="doc-noteref"
><sup>5</sup></a
>.
</p>
<p>
Hereafter, a list of relevant films. The title cards are presented in
chronological order of film release in the Figures section of the
chapter. For ease of search and unification purposes, titles are given
in English as films were released in theaters in English-speaking
countries.
</p>
<ul class="film_list">
<li>
<em>The Adventures of Robin Hood</em>, dir. M. Curtiz, W. Keighley
(1938)
</li>
<li>
<em>The Bandit of Sherwood Forest</em>, dir. H. Levin, G. Sherman
(1946)
</li>
<li><em>The Prince of Thieves</em>, dir. H. Bretherton (1948)</li>
<li><em>Rogues of Sherwood Forest</em>, dir. G. Douglas (1950)</li>
<li><em>Tales of Robin Hood</em>, dir. J. Tinling (1951)</li>
<li><em>The Men of Sherwood Forest</em>, dir. V. Guest (1954)</li>
<li><em>Son of Robin Hood</em>, dir. G. Sherman (1958)</li>
<li><em>Sword of Sherwood Forest</em>, dir. T. Fisher (1960)</li>
</ul>
<h3 id="analysis"><strong>Analysis</strong></h3>
<p>
The legendary nature of the Robin Hood figure and many literary
sources give filmmakers carte blanche to tell a story. The loose
framing of the narrative includes the design of the credits.
Therefore, all the examples in the database are loosely based on
different medieval scripts from the early to the late periods. Thus,
in
<em>The Adventures of Robin Hood</em> (1938), one of the most famous
and researched films on the subject, several clichés are found:
initial ornamental letters painted in red, a parchment-shaped
background with swords and coats of arms on which the credits change.
The script chosen for the film’s title refers to several styles at
once. The majuscule “T” alludes to the Blackletter script and
incunables fonts. The uppercase “A”, “R”, and “H” are derived from
different scripts, and the first two are more modern and together with
the rest of the letters look closest to the sans-serif almost modern
typefaces. While the “h” and “d” refer to manuscript traditions. Thus,
some of the letterforms harken back to a later period. Lowercase “h”
has a form similar to a variant of the 14th century Gothic rotunda,
while “d”, written in a single stroke with a slant and lacking a
strongly marked top and foot is similar to a Gothic textura of medium
grade<a
href="#fn6"
class="footnote-ref"
id="fnref6"
role="doc-noteref"
><sup>6</sup></a
>.
</p>
<figure>
<img
src="https://www.dropbox.com/scl/fi/5bzxt6bi1qr0qapvbsoq6/1938_The-Adventures-of-Robin-Hood.png?rlkey=uijl3omp83ntasqw65iejdn3j&raw=1"
loading="lazy"
class="chapter_img"
alt="The Adventures of Robin Hood"
/>
<figcaption>The Adventures of Robin Hood, 1938.</figcaption>
</figure>
<figure>
<img
src="./assets/images/case_study_2/footnote6.jpg"
loading="lazy"
class="chapter_img"
alt=""
/>
<figcaption>
Fragment of: Horae ad usum Romanum, dites Heures de Jacques II de
Châtillon-Dampierre et de Jeanne Flotte de Revel, sa femme. “BnF
Catalogue général,” NAL 3231, fol. 136–139.
</figcaption>
</figure>
<div id="imageModal" class="modal">
<span class="close">×</span>
<img class="modal-content" id="modalImage" />
</div>
<p>
The title cards of the following three films share common elements.
<em>The Bandit of Sherwood Forest</em> (1946),
<em>The Prince Of Thieves</em> (1948), and
<em>Rogues Of Sherwood Forest</em> (1950) tend towards the Gothic
textura script. However, the letters in the first two cases are more
elongated, narrow, and tall, while on the latter title cards most of
the lettering is less transformed. Common to all examples is the
drawing of several letters. Lowercase “s” has both loops closed and by
its shape resembles an eight. Examples of this lettering are found in
European manuscripts from the first half of the 14th century<a
href="#fn7"
class="footnote-ref"
id="fnref7"
role="doc-noteref"
><sup>7</sup></a
>. Such a form is very characteristic of the Gothic textura quadrata.
The second common feature is the lettering of the letter “o” – this is
an example of a very formally written Gothic prescissa<a
href="#fn8"
class="footnote-ref"
id="fnref8"
role="doc-noteref"
><sup>8</sup></a
>. The same description fits the group of Gothic letterforms common in
Europe and England from the 12th to 15th centuries.
</p>
<figure>
<img
src="https://www.dropbox.com/scl/fi/33spz2z2dqvoudkjx6kmk/1946_The-Bandit-of-Sherwood-Forest.png?rlkey=l4xcza1bwqjvy1hzavvnfhn14&raw=1"
loading="lazy"
class="chapter_img"
alt="The Bandit of Sherwood Forest"
/>
<figcaption>The Bandit of Sherwood Forest, 1946.</figcaption>
</figure>
<figure>
<img
src="https://www.dropbox.com/scl/fi/8ftf436lima1vbmwanaw6/1948_The-Prince-Of-Thieves.png?rlkey=ey40ovbhqayqtv47iff7ifpq6&raw=1"
loading="lazy"
class="chapter_img"
alt="The Prince Of Thieves"
/>
<figcaption>The Prince Of Thieves, 1948.</figcaption>
</figure>
<figure>
<img
src="https://www.dropbox.com/scl/fi/bxt1cuuqrd5jokedgeqcp/1950_Rogues-Of-Sherwood-Forest.png?rlkey=5switj8amsn9t0r6glmb80e8x&raw=1"
loading="lazy"
class="chapter_img"
alt="Rogues Of Sherwood Forest"
/>
<figcaption>Rogues Of Sherwood Forest, 1950.</figcaption>
</figure>
<figure>
<img
src="./assets/images/case_study_2/footnote7_1.jpg"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
Fragments of manuscripts with similar Gothic scripts.<br />
Left: Biblia sacra, dite Vulgate parisienne ou Bible de Paris, dite
Bible de Robert de Billyng, “BnF Catalogue général,” Ms. 11935, fol.
557v.<br />
Right: Book of Hours, Use of Sarum. Oxford, Bodleian Library MS.
Laud Misc. 204, fol. 11v.<br />
</figcaption>
</figure>
<figure>
<img
src="./assets/images/case_study_2/footnote7_2.jpg"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
Remembrance de Bertrand Du Guesclin. Angers, Bibliothèque
municipale, Ms. 549, fol. 4–5.
</figcaption>
</figure>
<p>
The title cards of <em>Tales of Robin Hood</em> (1951) also contain
the formal “o”, which is also characteristic of the previous examples.
The fonts used can be characterized as tall, narrow, compact in the
horizontal dimension, even, and with diamond-shaped serifs. All
uppercase letters have intricate serifs at the top and bottom, giving
the text a decorative character. Such exaggerated serifs and
drop-shaped ornaments at the ends of the strokes suggest the late
Middle Ages or early Renaissance, when decoration was commonplace. The
contrast between the thick vertical line and the thinner horizontal
serifs and strokes is characteristic of the Blackletter script. The
rest of the letters gravitate towards humanistic script<a
href="#fn9"
class="footnote-ref"
id="fnref9"
role="doc-noteref"
><sup>9</sup></a
>, a late successor to Gothic scripts.
</p>
<figure>
<img
src="https://www.dropbox.com/scl/fi/3rjdh5xiaf365lqx90ij8/1951_Tales-of-Robin-Hood.png?rlkey=4agzcqk7a0pd41xvbssrdo2ry&raw=1"
loading="lazy"
class="chapter_img"
alt="Tales of Robin Hood"
/>
<figcaption>Tales of Robin Hood, 1951.</figcaption>
</figure>
<figure>
<img
src="./assets/images/case_study_2/footnote9.jpg"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
Fragment of: Commentary on St. John. Oxford, Bodleian Library MS.
Canon. Pat. Lat. 159, fol. 001r.
</figcaption>
</figure>
<p>
<em>Son of Robin Hood</em> (1958) offers a more modern take and
interpretation of the same Gothic and Blackletter scripts with some
stylistic choices that give it a cinematic flavor. The letters retain
the angularity and upright accent of the Gothic scripts, but they are
smoothed and stylised to appear more readable and dynamic, a
characteristic feature of the 20th century revival of such style. The
letters have a bold, dramatic look with sharp angles and high
contrast. It is the most modern-looking title card, which, taking
familiar and iconic letterforms as a basis, have gone very far in its
interpretation. The choice of yellow ink for the letters is notable
for several reasons. It cannot be omitted that the title card designer
may have been inspired by the gilded letters. Gold was commonly used
in illuminated manuscripts and to decorate initials. The level of
lavishness usually depended on the importance of the text and the
wealth of the institution or person who commissioned the manuscript.
Gold decoration served several purposes at once: it affirmed devotion
to God, served as a status symbol of the owner, and carried artistic
value. Different shades of yellow ink were also used in the manuscript
production both for illustrations and lettering<a
href="#fn10"
class="footnote-ref"
id="fnref10"
role="doc-noteref"
><sup>10</sup></a
>.
</p>
<figure>
<img
src="https://www.dropbox.com/scl/fi/rquczrt6gw0hdqg4t8l2x/1958_Son-of-Robin-Hood.png?rlkey=dngi0xzlwo7gf6pe2ig722zox&raw=1"
loading="lazy"
class="chapter_img"
alt="Son of Robin Hood"
/>
<figcaption>Son of Robin Hood, 1958.</figcaption>
</figure>
<figure>
<img
src="./assets/images/case_study_2/footnote10.png"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
As examples of the use of gilded letters, here are the books of
hours (a type of Christian book for lay people that presents an
adapted monastic practice of praying at a specific time of day known
as the canonical hours) from the 13th century not only with golden
letters but yellow ink.<br />
Left: Psautier-livre d’heures. Saint-Omer. Bibliothèque
d'agglomération, Ms. 270, fol. 26.<br />
Right: Psalterium. “BnF Catalogue général,” Latin 10435, fol. 117r.
</figcaption>
</figure>
<p>
As Derolez states, yellow ink was used primarily to highlight the
opening letters. This color was especially common in the 15th century
since it replaced more vivid red ink. This happened probably due to
Italian influence on book culture. The highlighting technique itself
became widespread from the 13th century onwards for better orientation
on the page among the dense lines written in Gothic scripts. Also in
the 12th century yellow ink was common for ornamenting minor
initials<a
href="#fn11"
class="footnote-ref"
id="fnref11"
role="doc-noteref"
><sup>11</sup></a
>.
</p>
<figure>
<img
src="./assets/images/case_study_2/footnote11.png"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
Right: An example of the use of yellow ink in minor initials from
the late 12th century: Psalterium Latino-Gallicum. “BnF Catalogue
général”, NAL 1670, fol. 107r.<br />
Left: Examples of using yellow ink for highlighting the first
letters at the beginning of sentences, as well as for initials (with
gold) from the late 15th century: Recueil sur la congrégation des
Jésuats, fondée par le Bienheureux Jean Colombini, et approuvée par
le pape Urbain V en 1365. “BnF Catalogue général”, Ms-855, fol. 28r.
</figcaption>
</figure>
<p>
The two remaining title cards,
<em>The Men of Sherwood Forest</em> (1954) and
<em>Sword of Sherwood Forest</em> (1960), are curious cases. In the
first instance there are several features that should be addressed.
</p>
<div class="chapter_gallery_wrap">
<article>
<figure>
<img
src="https://www.dropbox.com/scl/fi/vnh72qk9veln9t1s8s5bz/1954_The-Men-of-Sherwood-Forest.png?rlkey=6xfiw5pqe3gwogj4lngivkt9j&raw=1"
loading="lazy"
class="chapter_img"
alt="The Men of Sherwood Forest"
/>
<figcaption>The Men of Sherwood Forest, 1954.</figcaption>
</figure>
</article>
<article>
<figure>
<img
src="https://www.dropbox.com/scl/fi/c5okw7l6su01u75fs8fpq/1960_Sword-of-Sherwood-Forest.png?rlkey=697cnqq9vps9el03rhovi5kz1&raw=1"
loading="lazy"
class="chapter_img"
alt="Sword of Sherwood Forest"
/>
<figcaption>Sword of Sherwood Forest, 1960.</figcaption>
</figure>
</article>
</div>
<p>
Thus, “t” in such a lettering begins to occur from about the 6th
century in half uncial scripts<a
href="#fn12"
class="footnote-ref"
id="fnref12"
role="doc-noteref"
><sup>12</sup></a
>
and up to the already mentioned varieties of Gothic scripts. The
uppercase “T” with swirls and roundness refers to similar forms of
ornamented letters<a
href="#fn13"
class="footnote-ref"
id="fnref13"
role="doc-noteref"
><sup>13</sup></a
>.
</p>
<figure>
<img
src="./assets/images/case_study_2/footnote12.jpg"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
See examples from the mid-12th century: Exposition des épîtres de
saint Paul attribuée à Florus, II. “BnF Catalogue général,” Latin
11576, fol. 5r.
</figcaption>
</figure>
<p>
The initial “M” has exaggerated serifs and strokes that give it a
decorative appearance. The letter is constructed so that the two
vertical stems mirror each other, and there is a strong horizontal
element at the bottom that holds together its form. Such symmetrical
rounded lettering can be found in manuscripts written in Carolingian
minuscule from as early as the 8th century<a
href="#fn14"
class="footnote-ref"
id="fnref14"
role="doc-noteref"
><sup>14</sup></a
>. The rounded lowercase “o” and “d” seem to be rooted in early
miniscule scripts. While the lowercase “e”, “r”, “f”, “h”, “w”, and
“s” are written out with reference to the later Gothic script
tradition. An interesting feature is the use of quotation marks. They
look like standart insular quotation marks. Evina Steinová observes “a
sharp rise in the use of quotation marks in Latin manuscripts between
the sixth and the ninth centuries”<a
href="#fn15"
class="footnote-ref"
id="fnref15"
role="doc-noteref"
><sup>15</sup></a
>.
</p>
<figure>
<img
src="./assets/images/case_study_2/footnote13.png"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
Examples of lowercase “t” from the 9th century: Letters and
treatises. Oxford, Bodleian Library MS. Add. C. 15, fol. 3r.
</figcaption>
</figure>
<figure>
<img
src="./assets/images/case_study_2/footnote14.jpg"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
Examples of similar but lowercase “M” from the 8th century: <br />
Left: Augustine, De Trinitate. Oxford, Bodleian Library MS. Laud
Misc. 126, fol. 6r. <br />
Right: The four Latin Gospels. Bibliothèque de Genève. Ms. lat. 6,
fol. 2r.
</figcaption>
</figure>
<figure>
<img
src="./assets/images/case_study_2/footnote14_1.jpg"
loading="lazy"
class="chapter_img clickable-image"
alt=""
/>
<figcaption>
A similar initial form is found in the 13th century script examples.
For instance: Ptolomeus, Almagestum, transl. a Gerardo Cremonense.
“BnF Catalogue général,” Latin 16200, fol. 37.
</figcaption>
</figure>
<p>
The script in <em>Sword of Sherwood Forest</em> (1960) also refers
mainly to early examples of scripts such as uncial and minuscule. This
typeface has characteristics that seem to combine medieval and fantasy
design elements. It is interesting to note how much more fantasy-like
it looks compared to the strict Blackletter-based scripts discussed
above. Though similar lettering is also found in manuscripts.
</p>
<h3 id="classification"><strong>Classification</strong></h3>
<p>
Most of the examples discussed exploit various varieties of common
Gothic scripts used in Europe in the 12th–15th centuries. This fits
within the chronological framework of the emergence of the Robin Hood
legends. However, there are examples of title cards relying on earlier
scripts, which give the opening title sequence a more fantasy
character. In addition, the title card of
<em>The Prince of Thieves</em> (1948), which is based on Alexandre
Dumas’s novel, skilfully uses the aesthetics of Medieval script and
19th century lettering. This blend gives an extra romantic flair to
the opening credits.
</p>
<p>
In terms of credits typology, most films use the opening title
sequence, but there are two curious examples of intros. In
<em>The Bandit of Sherwood Forest</em> (1946), the film title card is
literally a wooden plaque hanging from a tree branch. In
<em>The Prince of Thieves</em> (1948) title card appears against the
background of the unfolding action, the viewer sees two horsemen
crossing the countryside. In most cases, however, the titles follow a
formulaic conventional pattern: against a background of painted
medieval attributes in the form of coats of arms, banners, parchment,
and swords. As can be seen from examples of other films in the
database, this is the safest and most fail-safe background for
medieval film credits, especially in the swashbuckler genre.
</p>
<p>
Two title cards, <em>The Adventures of Robin Hood</em> (1938) and
<em>The Men of Sherwood Forest</em> (1954) reference written culture
directly by placing the film title on the background, which is
reminiscent of parchment. Through this straightforward device, the
title sequence achieves some form of establishing an early written
tradition for the legends of Robin Hood, linking his figure to an
ancient literary prototype rather than the hero of 19th century
novels. The opening credits of
<em>Rogues of Sherwood Forest</em> (1950) and
<em>Tales of Robin Hood</em> (1951) are an example of the vernacular
Hollywood language and, in broader sense, of the standard opening
sequence for medieval films – frames are lavished with the Middle Ages
items i.e. swords, shields, coats of arms, drapery. The plot of these
films, though, centers around a hero alien to wealth and prestige. In
<em>Sword of Sherwood Forest</em> (1960), despite the rather peculiar
idea of the opening sequence, the design is limited to modern pencil
sketches, although adapted illustrations in medieval style and with
imitation of the then technique would have looked more appropriate.
</p>
<p>
Curiously, judging from this sample alone, it is not as if title card
production technology has changed much. Sporadic instances of
inventive title card representation can be found in early films, but
over time, it is more noticeable how certain templates were developed
and established.
</p>
</section>
<section id="script-examples">
<h3>Script Examples</h3>
<ol type="1">
<li>
<p>
Augustine, De Trinitate. Oxford, Bodleian Library MS. Laud Misc.
126,
<a
href="https://digital.bodleian.ox.ac.uk/objects/9fed4442-f4b6-439d-b359-41df38d9c9d4/"
><u
>https://digital.bodleian.ox.ac.uk/objects/9fed4442-f4b6-439d-b359-41df38d9c9d4/</u
></a
>
</p>
</li>
<li>
<p>
Biblia sacra, dite Vulgate parisienne ou Bible de Paris, dite
Bible de Robert de Billyng, Ms. 11935, “BnF Catalogue général,”
<a href="https://gallica.bnf.fr/ark:/12148/btv1b105097447">
<u>https://gallica.bnf.fr/ark:/12148/btv1b105097447</u>
</a>
</p>
</li>
<li>
<p>
Book of Hours, Use of Sarum. Oxford, Bodleian Library MS. Laud
Misc. 204,
<a
href="https://digital.bodleian.ox.ac.uk/objects/25ee025e-d635-48c2-a276-fc16d153d78c/"
><u
>https://digital.bodleian.ox.ac.uk/objects/25ee025e-d635-48c2-a276-fc16d153d78c/</u
></a
>
</p>
</li>
<li>
<p>
Commentary on St. John. Oxford, Bodleian Library MS. Canon. Pat.
Lat. 159,
<a
href="https://digital.bodleian.ox.ac.uk/objects/43985bb0-0f8b-4439-a665-e467ea79a7d4/"
><u
>https://digital.bodleian.ox.ac.uk/objects/43985bb0-0f8b-4439-a665-e467ea79a7d4/</u
></a
>
</p>
</li>
<li>
<p>
Exposition des épîtres de saint Paul attribuée à Florus, II. “BnF
Catalogue général,” Latin 11576:
<a
href=" https://portail.biblissima.fr/fr/ark:/43093/mdata08dfe213fe9160a92415d9f5b84d509600fb99a0"
><u>
https://portail.biblissima.fr/fr/ark:/43093/mdata08dfe213fe9160a92415d9f5b84d509600fb99a0</u
></a
>.
</p>
</li>
<li>
<p>
Horae ad usum Romanum, dites Heures de Jacques II de
Châtillon-Dampierre et de Jeanne Flotte de Revel, sa femme. “BnF
Catalogue général,”
<a href="https://gallica.bnf.fr/ark:/12148/btv1b100254479"
><u>http://catalogue.bnf.fr/ark:/12148/cb423061589</u></a
>.
</p>
</li>
<li>
<p>
Letters and treatises. Oxford, Bodleian Library MS. Add. C. 15,
<a
href="https://digital.bodleian.ox.ac.uk/objects/fca37668-f648-4bf3-bac4-8dde86575833/"
><u
>https://digital.bodleian.ox.ac.uk/objects/fca37668-f648-4bf3-bac4-8dde86575833/</u
></a
>
</p>
</li>
<li>
<p>
Psalterium. “BnF Catalogue général,” Latin 10435:
<a href="https://gallica.bnf.fr/ark:/12148/btv1b105286177"
><u>https://gallica.bnf.fr/ark:/12148/btv1b105286177</u></a
>.
</p>
</li>
<li>
<p>
Psautier-livre d’heures. Saint-Omer. Bibliothèque d’agglomération,
Ms. 270:
<a
href="https://portail.biblissima.fr/fr/ark:/43093/mdata2cf9d82a7c0bf795d1315623a5c2ddc1f99ea602"
><u
>https://portail.biblissima.fr/fr/ark:/43093/mdata2cf9d82a7c0bf795d1315623a5c2ddc1f99ea602</u
></a
>.
</p>
</li>
<li>
<p>
Remembrance de Bertrand Du Guesclin. Angers, Bibliothèque
municipale, Ms. 549, Biblissima,
<a
href="https://portail.biblissima.fr/fr/ark:/43093/mdata6f93ab7698c535f4307d5e2ca0b2e2e65e13cd36"
><u
>https://portail.biblissima.fr/fr/ark:/43093/mdata6f93ab7698c535f4307d5e2ca0b2e2e65e13cd36</u
></a
>
</p>
</li>
<li>
<p>
The four Latin Gospels. Bibliothèque de Genève. Ms. lat. 6,
<a
href="https://www.e-codices.unifr.ch/en/searchresult/list/one/bge/lat0006#details"
><u
>https://www.e-codices.unifr.ch/en/searchresult/list/one/bge/lat0006#details</u
></a
>
</p>
</li>
</ol>
</section>
<section
id="footnotes"
class="footnotes footnotes-end-of-document"
role="doc-endnotes"
>
<p class="chapter_end">***</p>
<hr />
<ol>
<li id="fn1">
<p>
Thomas Leitch. “Adaptations without sources: the Adventures of
Robin Hood”, <em>Literature-Film Quarterly</em> 36, no. 1 (2008),
p. 22.<a href="#fnref1" class="footnote-back" role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn2">
<p>
Ibid., p. 26.<a
href="#fnref2"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn3">
<p>
<em>The Bandit of Sherwood Forest</em> (1948) and
<em>The Prince Of Thieves</em> (1948) respectively.<a
href="#fnref3"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn4">
<p>
John Aberth,
<em>A Knight at the Movies: Medieval History on Film</em> (New
York, NY: Routledge, 2003), p. 163.<a
href="#fnref4"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn5">
<p>
A detailed study on the character’s history, the biographies of
his possible prototypes, and the variety of films: John Aberth,
<em>A Knight at the Movies: Medieval History on Film</em> (New
York, NY: Routledge, 2003), pp. 162–210.<a
href="#fnref5"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn6">
<p>
See, for instance: Horae ad usum Romanum, dites Heures de Jacques
II de Châtillon-Dampierre et de Jeanne Flotte de Revel, sa femme.
“BnF Catalogue général,” NAL 3231:
<a href="https://gallica.bnf.fr/ark:/12148/btv1b100254479"
><u>https://gallica.bnf.fr/ark:/12148/btv1b100254479</u></a
>, fol. 136–139.<a
href="#fnref6"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn7">
<p>
See: Biblia sacra, dite Vulgate parisienne ou Bible de Paris, dite
Bible de Robert de Billyng, “BnF Catalogue général,” Ms. 11935:
<a href="https://gallica.bnf.fr/ark:/12148/btv1b105097447"
><u>https://gallica.bnf.fr/ark:/12148/btv1b105097447</u></a
>, fol. 557v; Remembrance de Bertrand Du Guesclin. Angers,
Bibliothèque municipale, Ms. 549:
<a
href="https://portail.biblissima.fr/fr/ark:/43093/mdata6f93ab7698c535f4307d5e2ca0b2e2e65e13cd36"
><u
>https://portail.biblissima.fr/fr/ark:/43093/mdata6f93ab7698c535f4307d5e2ca0b2e2e65e13cd36</u
></a
>, fol. 4–5; an example from the 2nd quarter of the 15th century:
Book of Hours, Use of Sarum. Oxford, Bodleian Library MS. Laud
Misc. 204:
<a
href="https://digital.bodleian.ox.ac.uk/objects/25ee025e-d635-48c2-a276-fc16d153d78c/"
><u
>https://digital.bodleian.ox.ac.uk/objects/25ee025e-d635-48c2-a276-fc16d153d78c/</u
></a
>, fol. 11v.<a
href="#fnref7"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn8">
<p>
Ibid.<a href="#fnref8" class="footnote-back" role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn9">
<p>
E. g., Commentary on St. John. Oxford, Bodleian Library MS. Canon.
Pat. Lat. 159:
<a
href="https://digital.bodleian.ox.ac.uk/objects/43985bb0-0f8b-4439-a665-e467ea79a7d4/"
><u
>https://digital.bodleian.ox.ac.uk/objects/43985bb0-0f8b-4439-a665-e467ea79a7d4/</u
></a
>, fol. 001r.<a
href="#fnref9"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn10">
<p>
As examples of the use of gilded letters, here are the books of
hours (a type of Christian book for lay people that presents an
adapted monastic practice of praying at a specific time of day
known as the canonical hours) from the 13th century not only with
golden letters but yellow ink representation: Psautier-livre
d’heures. Saint-Omer. Bibliothèque d’agglomération, Ms. 270:
<a
href="https://portail.biblissima.fr/fr/ark:/43093/mdata2cf9d82a7c0bf795d1315623a5c2ddc1f99ea602"
><u
>https://portail.biblissima.fr/fr/ark:/43093/mdata2cf9d82a7c0bf795d1315623a5c2ddc1f99ea602</u
></a
>, fol. 26; Psalterium. “BnF Catalogue général,” Latin 10435:
<a href="https://gallica.bnf.fr/ark:/12148/btv1b105286177"
><u>https://gallica.bnf.fr/ark:/12148/btv1b105286177</u></a
>, fol. 117r.<a
href="#fnref10"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn11">
<p>
Albert Derolez,
<em
>The Palaeography of Gothic Manuscript Books: From the Twelfth
to the Early Sixteenth Century</em
>. Cambridge, U.K. ; New York: Cambridge University Press, 2003,
pp. 40–41. An example of the use of yellow ink in minor initials
from the late 12th century: Psalterium Latino-Gallicum. “BnF
Catalogue général”, NAL 1670:
<a
href="https://gallica.bnf.fr/ark:/12148/btv1b10543447m/f223.item"
><u>https://gallica.bnf.fr/ark:/12148/btv1b10543447m</u></a
>, fol. 107r, . Examples of using yellow ink for highlighting the
first letters at the beginning of sentences, as well as for
initials (with gold) from the late 15th century: Recueil sur la
congrégation des Jésuats, fondée par le Bienheureux Jean
Colombini, et approuvée par le pape Urbain V en 1365. “BnF
Catalogue général”, Ms-855:
<a href="https://gallica.bnf.fr/ark:/12148/btv1b550134512"
><u>https://gallica.bnf.fr/ark:/12148/btv1b550134512</u></a
>, fol. 28 r.<a
href="#fnref11"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn12">
<p>
Examples of lowercase “t” from the 9th century: Letters and
treatises. Oxford, Bodleian Library MS. Add. C. 15:
<a
href="https://digital.bodleian.ox.ac.uk/objects/fca37668-f648-4bf3-bac4-8dde86575833/"
><u
>https://digital.bodleian.ox.ac.uk/objects/fca37668-f648-4bf3-bac4-8dde86575833/</u
></a
>, fol. 3r.<a
href="#fnref12"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn13">
<p>
See examples from the mid-12th century: Exposition des épîtres de
saint Paul attribuée à Florus, II. “BnF Catalogue général,” Latin
11576:
<a
href="https://portail.biblissima.fr/fr/ark:/43093/mdata08dfe213fe9160a92415d9f5b84d509600fb99a0"
><u
>https://portail.biblissima.fr/fr/ark:/43093/mdata08dfe213fe9160a92415d9f5b84d509600fb99a0</u
></a
>, fol. 5r.<a
href="#fnref13"
class="footnote-back"
role="doc-backlink"
>↩︎</a
>
</p>
</li>
<li id="fn14">
<p>
Examples of similar but lowercase “M” from the 8th century:
Augustine, De Trinitate. Oxford, Bodleian Library MS. Laud Misc.
126:
<a
href="https://digital.bodleian.ox.ac.uk/objects/9fed4442-f4b6-439d-b359-41df38d9c9d4/"
><u
>https://digital.bodleian.ox.ac.uk/objects/9fed4442-f4b6-439d-b359-41df38d9c9d4/</u
></a
>, fol. 6r; The four Latin Gospels. Bibliothèque de Genève. Ms.
lat. 6:
<a
href="https://www.e-codices.unifr.ch/en/searchresult/list/one/bge/lat0006#details"
><u
>https://www.e-codices.unifr.ch/en/searchresult/list/one/bge/lat0006#details</u
></a
>, fol. 2r. A similar form of initials is found in the 13th
century script examples. For instance: Ptolomeus, Almagestum,
transl. a Gerardo Cremonense. “BnF Catalogue général,” Latin
16200:
<a
href="https://gallica.bnf.fr/view3if/ga/ark:/12148/btv1b525094719"
><u
>https://gallica.bnf.fr/view3if/ga/ark:/12148/btv1b525094719</u
></a
>, fol. 37.<a
href="#fnref14"
class="footnote-back"
role="doc-backlink"
>↩︎</a