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Robin Hood, Frenched

  • Richard Utz
Part of the The New Middle Ages book series (TNMA)

Abstract

In playwright Eric Durnez’s 2002 play, Brousailles, one of the characters, the adolescent Albert Jardin, remembers the evening during which his parents announced their decision to get a divorce:

My father and mother had their share of disagreements just about like any other couple. Maybe even fewer than average. Nevertheless, one evening they became very serious and told me that they needed to talk with me and asked that I switch off the television, just about when Thierry la Fronde was about to start. At school, we acted out Thierry la Fronde. [My friend] Tom Patinaud played Thierry la Fronde, and I was often a spy prisoner whom Thierry had liberated. It was really the first time my parents made such a fuss about having a conversation. Normally, they just talked, that’s all, and they never told me in advance that they needed to talk … I asked if we might have the talk after Thierry la Fronde, but my father straight out tore out the television cable, saying that there were more important things in life than Thierry la Fronde.1

Keywords

Television Show Television Series English Occupation American Import Title Song 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 4.
    According to James Chapman, “The Adventures of Robin Hood and the Origins of the Television Swashbuckler,” Media History 17.3 (2011): 274, the Adventures “exemplifies two separate, though related, processes in the television industry during the 1950s: the rise of international coproduction-distribution arrangements and the trend towards telefilm production.”CrossRefGoogle Scholar
  2. 5.
    Jacques Baudou and Jean-Jacques Schleret, Les feuilletons historiques de la télévision française (Paris: Huitième Art, 1992), 25.Google Scholar
  3. 6.
    Isabelle Veyrat-Masson, Quand la télévision explore le temps. L’histoire au petit écran 1953–2000 (Paris: Fayard, 2000), 132.Google Scholar
  4. 7.
    Raymond Cazelles, “Jean II le Bon: Quel homme? Quel roi?” Revue Historique 251.1 (1974): 5–26.Google Scholar
  5. 18.
    John Fraser, America and the Patterns of Chivalry (Cambridge, UK: Cambridge University Press, 1982), 12.Google Scholar
  6. 20.
    Richard Utz, “Coming to Terms with Medievalism,” European Journal of English Studies 15:2 (2011): 103–6.CrossRefGoogle Scholar
  7. 23.
    Isabelle Veyrat-Masson, “Les guerres de mémoires à la télévision: du dévoilement à l’accompagnement,” in Les guerres de mémoires. La France et son histoire. Enjeux politiques, controverses historiques, stratégies médiatiques, ed. Pascal Blanchard and Isabelle Veyrat-Masson (Paris: La Découverte, 2008), 275–76.Google Scholar
  8. 24.
    Stephen Knight, “Which Way to the Forest? Directions in Robin Hood Studies,” in Robin Hood in Popular Culture: Violence, Transgression, and Justice, ed. Thomas Hahn (Cambridge, UK: Brewer, 2000), 120.Google Scholar
  9. 25.
    The most influential French youth magazine of the 1960s and 1970s, Salut les Copains, used the popularity of actor Jean-Claude Drouot to promote romantic love that leads toward marriage. See Chris Tinker, Mixed Messages: Youth Magazine Discourse and Sociocultural Shifts in Salut les copains (1962–1976) (Berne: Peter Lang, 2010), 154.Google Scholar
  10. 26.
    See Steve Neale, “Transatlantic Ventures and Robin Hood,” in ITV Cultures: Independent Television over Fifty Years, ed. Catherine Johnson and Rob Turnock (Maidenhead: Open University Press, 2005), 73–87. Weinstein also produced four other TV series which are either set in the Middle Ages or include various forms of medievalisms: The Buccaneers (1956–1957); The Adventures of Sir Lancelot (1956–1957); Sword of Freedom (1958–1960); and The Four Just Men (1959).Google Scholar
  11. 27.
    Wendy Gibson, A Tragic Farce: The Fronde (1648–1653) (Exeter: Elm Bank Publications, 1998), 1.Google Scholar
  12. 28.
    Gérald Meryll, “Qui es-tu Jean-Claude Drouot? Pas tellement Thierry la Fronde,” Salut les copains 20 (1964): 54.Google Scholar

Copyright information

© Gail Ashton and Daniel T. Kline 2012

Authors and Affiliations

  • Richard Utz

There are no affiliations available

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