Unlike William Shakespeare, Jane Austen, Charles Dickens, and other great authors who have enjoyed continued success in Hollywood, Geoffrey Chaucer has largely been shunted to the margins of
the cinematic world. Chaucer on Screen: Absence, Presence, and Adapting the Canterbury Tales, edited by Kathleen Coyne Kelly and Tison Pugh, investigates the various translations of
Chaucer and the Canterbury Tales to film and television, tracing out how the legacies of the great fourteenth-century English poet have been revisited and reinterpreted through visual
media. Contributors to this volume address the question of why Chaucer is so rarely adapted to the screen, and then turn to the occasional, often awkward, attempts to adapt his narratives,
including such works as Michael Powell and Emeric Pressburger’s lyrical A Canterbury Tale (1944), Pier Paolo Pasolini’s still-controversial I racconti di Canterbury (1972), Bud
Lee’s soft-core The Ribald Tales of Canterbury (1985), Brian Helgeland’s A Knight’s Tale (2001), and BBC television productions, among others. Chaucer on Screen aims to
rethink some of the premises of adaptation studies and to erase the ideological lines between textual sources and visual reimaginings in the certainty that many pleasures, scholarly and
otherwise, can found in multiple media across disparate eras.
