Analysing the 2015 Justin Kurzel film Macbeth, this essay develops a critical frame from phenomenology and romantic hermeneutics to illuminate the affective experience of viewing films set in the Middle Ages, exploring in particular the diffuse emotional registers that it calls medievalist moods. It argues that the historical moods evoked in and by films such as Macbeth are central to the experience of viewing historical cinema. Using notions of empathy developed within German hermeneutics, especially Einfühlung, Verstehen, and Nachfühlen, it accounts for the transhistorical empathy encountered in historical films.
|Number of pages||10|
|Journal||Screening the past|
|Publication status||Published - 2016|