How the myth of Robin Hood has transformed over time... BBC television series; Robin Hood (2006-2009) and how it has enabled it to resonate with a 21st century audience?
INTRODUCTION:
Being the most recent television adaptation based on the Robin Hood Legend, the programme simply named ‘Robin Hood’ ran from 2006-2009, with three, thirteen episode, seasons. It was first broadcast on BBC one and could be accessed worldwide to American viewers on BBC America. At the time, it took over from ‘Doctor Who’s’ (2005-) Saturday night spot, attracting a similar audience of family and young children, with early reviews describing it as “a unique blend of exhilarating action adventure, wit and romance – something for all the family.” (BBC News, 2006). Based on a much known and well-loved character, the show intended to reinvent and modernise the legend in order to “update for the 21st century” (Osborn, 2006) “for a sophisticated contemporary audience” (Tiger Aspect, 2006). Over the years, Many incarnations of ‘Robin Hood’ have been developed. Starting with ballads dating back as far as the 12th century. As well as popular television series and films. This is a credit to the legends fame, the character of Robin Hood has become so ingrained in British pop culture, cameos of him have appeared as a recognisable character in other media forms. For example, the film “Shrek” (2001) and cartoons like ‘Mickey Mouse’ reference the character, and is so widely known that he has even featured in science fiction like “Star Trek” (1991) and “Doctor Who” (2014). Due to so many appearances and reinventions of the character, naturally, comparisons have been drawn from previous television shows, such as; The Adventures of Robin Hood (1955-1959) and Robin of
Sherwood (1984-1986). With fans debating their favourite version of the character, the way James Bond fans discuss their own. This essay will look to explore how BBC’s ‘Robin Hood’ uses adaptation components such as; fidelity, cultural and postmodern recreations, as well as audience understandings of previous narratives, to discover how the series successfully adapted the legend into television into the twenty-first century.
As the legend is so well know, it could be suggested that the story is as predictable as; steal from the rich to give to the poor, as the common phrase goes. For most of us “the story of
Robin Hood retains a common basis that most of us recognise and accept” (Bradbury, 2012:11) and our view has been formed by adaptations within film and television. In summary, Robin Hood is a brilliant archer who fights for justice against the evil lord Sheriff. He is the hero of the poor and prevails. Noting that “every generation has had a Robin Hood Film, and nearly every film has been popular and profitable.” (Chandler, 2006) with a similar, recognisable plot. However, to understand why the story has transcended across almost a thousand years of time, we must first observe the intentions behind the original source material, such as the medieval ballads. This is so we can critically compare to the modern adaptation. As such, the story we know “is not […] the story that was familiar to fifteenth and early-sixteenth-century audiences” (Pollard, 2004: 2) and would not resonate with a modern audience today. In the earliest ballads, the character of ‘Robin Hood’ is entirely different and “at odds with this romantic notion, as Robin is a violent yeoman” (Chandler, 2006) without a ‘Maid Marian’ but devoting his life to the Virgin Mary. He is not to be perceived as a hero, as at the time “no one is going to think of outlaws as godly” (Bradbury, 2012: 116) and instead illustrated as a criminal, who redeems his sins through godly prayers and promotes themes of redemption of sins. He does not begin to give to the poor until the 16th century where an approach against capitalist notions and Robin Hood becomes a story about justice. During the Tudor period, we see a difference in how religion is perceived due to England’s reformation from catholic to protestant, through the ballads of Robin Hood. An example is the ballad; ‘ Robin Hood and the Monk’ (1450) is resolved with the murder of a monk who has done the outlaws wrong. Onwards, stories began to involve greedy religious figures, who steal money from charity for their own keeping, morphing them into the antagonists. A reflection on the society in which they live. Whilst Robin’s victory of exposing them for their crimes “secures Robin’s place as a true and faultless hero.” (Lofty, 2008) it also worked as propaganda for promoting the protestant faith. Reflecting the popular opinion of the era and how political agendas have shaped the story.
Throughout history, Robin’s character has served a lesson in religion, redemption and propaganda. However, today the “social and political tension of the thirteenth and early fourteenth century, in which Robin Hood stories were set, are no longer relevant” (Dalton, et al. 2008: 4) therefore the story needs to evolve. This is where adaptation theory comes into play. The theory is described as “an alteration for the better […] designed to increase longevity, or efficacy, or sustainability” and “is most frequently understood as a form of progress” (Hodgkins, 2013). We understand that the story has survived so long throughout history because it has retained its popular appeal, by updating the legend through transformation to suit the current time. However, most adaptations are based on single novels with one authoritative texts. Robin Hood struggles with this concept, as there is no one source to pinpoint. Having been transformed by multiple forms of art throughout history (ballads, plays, novels, television and film). Therefore, the relationship between the source material and the current adaptation we intend to analyse is complicated and has a need to be explored.
Chapter 1: Modernising the Legend;
What resonates with audiences once and would not today, can be attributed to Television adaptation theory. Robin Hood is a prime example of how “a text can not only survive the shift from one form to another, but it can also thrive in ways not previously possible in the original form” (Brokenshire, 2014). Thus, the stories are able to evolve from the form of ballads to television through adapting to the time. If we were to literally translate the ballads onto screen today, audience would not resonate with it as the initial intentions and ideologies behind it have moved on. With “more than six centuries of political, historical, sociological, and cultural changes have influenced and shaped Robin Hood into a very complex representation of a monomythic hero” we must determine what has shaped this version of the legend. In; Madame Bovary at the Movies : Adaptation, Ideology, Context’ it questions how creators must consider; “What purpose is served by adapting this particular novel to the screen in any given year and location?” (Donaldson-Evans, 2009: 37). Just as the original ballads were written to reflect the era and current events, this principle still applies to BCC’s Robin Hood, which must question, what is current at the time of creating this series, and what the intention is behind it.
Adaptation theory discusses the method of modernising a story into a contemporary environment. Whilst the Robin Hood series (2006-2009) still set very heavily in a medieval period. It is the language, costume and tone that creates this contemporary appeal, which places these characters directly from the present into this story. Costume designer, Frances Tempest, describes it as “making the medieval modern.” (Tempest, 2009) in order to attract a younger, less historically focused audience. As setting it in a completely realistic medieval period would be unrecognisable and alienate. The show attempted this through use of dressing Robin in a historical-inaccurate ‘hoodie’ miraging the popular hoodie culture of the early 2000s and Instead of referring to Robin’s outlaws as ‘merry men’ (as famously depicted in previous adaptations) they are instead named ‘The Gang’. Intending to be a reference to gang-culture and a much more modern nickname for a group of thieves against the law. As well as this, one of the main antagonists, Guy of Gisborne, is placed in full leather intending to be the “image of a racing driver” (Tempest, 2009). Due to this, the characters are intended to feel like an ‘every-day’ man which the audience can see themselves in. By doing this, the setting feels more familiar and allows the audience to not focus heavily on understanding the time period in which it is set, but the story and narrative. There is not an intention to capture an accurate reality, but to inflict modern reality into a medieval legend. Taking post-modern attributes into the retelling of familiar stories in an unfamiliar environment, through a perspective of modernity.
In continuation, we can understand that by using modern references in adaptation, it resonates with audiences and creates a sense of familiarity. BBC’s Robin Hood (2006) in particular was written and filmed during the middle of the Iraq War (2003-2011). At the time, the British public were questioning the morality of what we have done with our military strength and the necessity of war. This very much affected the purpose of the series. Showrunner and writer, Dominic Minghella, established that “there are some […] obvious […] political analogies” (Weisman: 2007). Robin in this reinvention is an ex-solider, returning from a brutal war. For inspiration, ex-special air force recruits were brought in to inform the showrunners on their decision in how to portray a military character. During the first episode of the series, ‘Will You tolerate this?’ (2006) we first meet Robin who has come home after five years away in an “unpopular war (The Holy War) to which he willingly went, motivated by love of king and country, and at great personal sacrifice, only to find an England in the grip of a slightly mad despot” (Mail on Sunday: 2006). Robin later realises there is more nobility in joining a group of outlaws that are against the corrupt political agenda, and rejects his ‘Lord’ status to fight against the corruption. This draws clear symmetry to the Iraq War, where soldiers went for glory for their country, only to come home and discover they had been misled by the government. Robin Hood BBC’s intends to questions the morality of war and capitalist government gain.
A quote in particular that reveal this character study of Robin, is in 1×01, titled ‘Will you Tolerate this’ (2006). During Robin’s homecoming, where he returns to his manor after five years of war, a conversation between him and Guy of Gisborne transpires. Gisborne comments on how King Richard I is winning the Holy War, to which Robin responds; “he’s killing more people […] Show me an argument ever settled with bloodshed, then I’ll call it winning.” (‘Will You Tolerate This?’, 2006, 18:17). This is a direct message about the state of government decisions at the time, thus paralleling the situation and revealing Robin’s frustration to represent the exasperation of the English troops returning home. Here, Robin symbolizes the essence of British culture and public opinion of the time, acting as a hero who undermines unjust authority and “dispossess himself of worldly comfort in the name of moral purity and social reform, who lives outside the law in order to be honest.” (Lloyd:2007)
Furthermore, another parallel is drawn between the show and the Iraq War. An attempt is made to compare antagonist, Sheriff of Nottingham, to the prime minister at the time; Tony Blair. In the series, the Sheriff has a capitalist ideology and when discussing the Holy War in acre with Robin, he states; “We stand shoulder to shoulder with Rome” (‘Will You Tolerate This?’, 2006, 26:58). This sentiment very clearly echoes Tony’s Blair’s 2001 speech in response to 9/11, in which he said; “We stand shoulder to shoulder with our American friends.” (Blair, 2001) Robin then responds to the Sheriff; “Is it our Holy War, or Pope Gregory’s?” (‘Will You Tolerate This?’, 2006, 26:56). Though in the context of the show it attempts to relate it to a current religious figure of the time, this quote can accurately translate too; ‘is this our war, or George Bush’s?’. This direct references to political situations, refer to how “Adaptation in contemporary culture considers adaptation […] as a cultural practise […] which exemplifies key trends in postmodern culture.” (Carroll, 2009: 1) and emphasises the popular and postmodern beliefs, conflicting truth and reality. The references made in this scene, are intended to be understood by the audience and meant to make them feel ‘smarter’ for having understood it. Overall, The Sheriff of Nottingham is “condemned to eternal villainy” (Schonfeld, 2011) throughout history, in Robin Hood ballads, theatre, film and television. To have him, in this adaptation, directly represent key politicians, villainises political figures for their current affairs whilst offering fidelity to the original source material in keeping the Sheriff of Nottingham the main antagonist of the story. Overall, inputting culture analogies and directly referencing them, informs the audience on current situations, creating room for conversation and opinions. This adaptation succeeds in gratifying the British Broadcasting Corporation mission statement to “inform, educate, and entertainment” (BBC, Mission, values and Public Purposes) their audience in current matters.
However, despite this focus on the consequences of war and how this affects Robin’s character in this series, “the Crusades have almost no impact on the early Robin Hood ballads and plays” (Wright, 2007). In fact, it has only been added as a new addition in the 20th century to the legend and post- world war. BBC’s Robin Hood is not the only adaptation to add this to the legend. ‘Robin Hood Prince of Thieves’ (1991) also begins with Robin (Kevin Costner) returning from war only to find England has been corrupt. However, “despite having been tortured in prison for years (in the Crusades), Kevin Costner’s Robin didn’t have many emotional scars.” (Wright, 2007). This is explored in greater depth through their decision to show Robin waking up from Nightmares, having had dreams of being stabbed. As well as showing Much (Robin’s Servant) crying in the bathtub whilst nondiegetic sounds of swords clash. BBC’s use of adapting the legend for Television instead of film, allows for much greater exploration of character and themes, as there is more time to develop them.
Therefore, we can observe that there is a clear transition from the intentions of the original ballads and todays adaptation. The Robin Hood legend has moved on. The previous focus on religious tension of the reformation during the Tudor reign, has been pushed to the side in favour of postmodern attitudes and justice against authority, war and capitalism. This transition of themes, is very clearly depicted in series 1, episode 10. Titled ‘Peace? Off!’ where Robin is faced with a situation; a solider returned from battle in the Holy land suffering from PTSD and has resorted to burning down a church in a village. The villagers’ turn to drowning the named ‘heretic’ for burning their church just as Robin rides in and assesses the scene. Rather than staying to help take out the fire, Robin instead rescues the ex-soldier. This reveals the true transformation, as in this rendition of the story, religion is pushed to the side in order for them to focus on their desired intention. Which is to highlight the atrocity of war and its consequence on returning soldiers.
All in all, every adaptation “is an inevitably transformative of its object” (Carroll, 2009: 1). Robin Hood, in all media and literature forms, is a story that has the “adaptability of the story lends itself well to different audiences. As audiences have changed, Robin has been able to reflect those changes without losing his essential characteristics.” (Bone: 2019).
BBC’s Robin Hood does this by taking current worldwide affairs which resonate with audience of the time, and transformed the themes into narratives that reflect the society in which we live. This is how the story has survived through eras and multiple adaptations.
Chapter 2: RECYLING TROPES; Well known narratives and Fidelity
As discussed previously, adaptation theory relates to how a story can update to become fresher for audience. However, it also examines the fidelity of the product made. For instance, Rachel Carroll argues that an adaptation “should be judged by its faithfulness to the original source material” (Carroll, 2009:1) and therefore is only considered a ‘good’ adaptation if it is recognisable and similar to the original source. Implying that very life of pre-existing stories creates expectations from a knowledgeable audience who know of the source material, and can threaten a postmodern adaptation. As established previously, an adaptation needs to be updated in order to remain relevant. Even the most well-known film adaptation from a novel; Harry Potter, is reviewed though the belief that “though the resulting movie may in fact be a good film, the question that must be asked is whether it is a good film version of the book” (Joffe, 2007). In this sense, the Robin Hood television series doesn’t just have to worry about creating good Saturday night entertainment, but “must address two audiences simultaneously: The expert and the unknowing” (Carroll, 2009: 3). Consequently, there is a need to create television that will not disappoint audience who have expectations, but also, something new for those who are not aware of the myth and the stories associated with it. To judge whether BBC’s Robin Hood is a ‘good’ adaptation and retains fidelity, we must first analyse the similarities with the ballads and televisions series that inspired the new series.
As established in the introduction, unlike most adaptations derived from literature forms, such as novels, it is impossible to pinpoint an exact authoritative text that has inspired the Robin hood adaptation. Instead the story has becoming a part of popular British culture, transforming with the times, and echoing current political agendas of the era. The statement linked to adaptation theory suggests that; “in treating fidelity to the source material [is] a normal from which unfaithful adaptation depart at their peril,” (Leitch, 2007) and is unfair to be applied to the Robin Hood legend. How can we analyse the faithfulness and intertextuality between the source material and the current adaptation, if there is so many illustrations that have inspired it? Despite this lack of source, “the Robin Hood stories remain common knowledge” (Bradbury, 2012: 13). Throughout history, elements of the story have remained and part of the ‘expected’ formular to belong to each adaptation of the myth. Conventionally, the story is set in Sherwood Forest, Robin is an outlaw, has an outlaw group that he leads and Maid Marian is predominantly the main female love interest. These qualities stay consistent throughout most Robin Hood media forms and have been derived from multiple sources in differing ballads throughout history. For instance, historically, the character of ‘Maid Marian’ was not introduced until the renaissance period. Beginning along with the launch of more “French style romances” (2012:136) aimed at an upper-class audience, placing Robin as an aristocratic Lord and needed a female character to be “part of his gracious style of living and to provide the continuation of his landed line” (Knight, 2003: 58). Since then, Maid Marian has become a permanent figure and installed amongst British popular culture as an integral part of the legend, included in every television and film adaptation series to date, despite not being a part of the oldest ballads dated back. Collectively this ‘common knowledge’ has warped the view of the legend and what has been translated onto screen, has become the fixed perception. Therefore when analysing the issue of fidelity in the product of ‘Robin Hood’, it isn’t the similarity to the earliest source material which we must consider, but the conventional perspective of narrative in which the general audience is aware of.
It is no secret that despite being different genres and exploring contrasting themes, every Robin Hood movie will consist of similar scenes. We see this throughout much of the movies and television adaptations. For example, an archery competition often appears in different forms throughout Robin Hood media to showcase Robin’s skill with a bow. Often with a striking visual where Robin slips an arrow in two. This is initially derived from the collection of child’s ballad;’ ‘Robin Hood and the Golden Arrow’ (Child, 1904: 152). However, the concept of an archery competition was not popularised in Robin Hood culture until ‘The adventures of Robin Hood’ (1938) where the Sheriff arranges the archery competition as a trap to lure Robin, so he can capture him. This later inspires the BBC’s Robin Hood scene In 1×05, titled ‘Turk Flu’ (2006) showing Robin attending an archery competition to win a silver arrow for a poor peasant, disguised in a cloak and hood. Revealing how this adaptation is not intending to adapt from the ballads, but an updated version of previous movies that are more engrained in popular culture. This showcases the intertextuality between text and media, which has popularised the legend into the conventional perspective and warped the natural fidelity of the adaptation into something entirely different from the original source.
Series writer, Dominic Minghella, describes the mis-en-scene of the bow is part of the “DNA” (Brown, 2006) of the character, and is what makes him instantly recognisable. Without it, the identity of the character and what it is famous for wouldn’t be distinguishable and argues that there are perhaps some elements to the legend that cannot be altered through adaptations. The initial introduction to Robin’s character in the series, shows him coming out from behind a tree in the middle of Sherwood forest, wearing a hood and holding a bow.. He confronts a Sheriff’s guard by firing an arrow into the air which accurately lands between the guards’ legs and refers to his ‘men’ in the woods as the trees rustle to show lots of men in the trees. The introduction alludes to the Robin Hood myth, a famous outlaw and archer and conforms to the expectations of the narrative. The use of the bow symbolises the character and despite not revealing his name yet, the audience already know who the character is through a motif. However, this unfolding story later subverts expectations as we cut out to reveal the ‘men’ Robin is referring to is just one man, comedically rustling the trees with a bit of string in order to intimidate the guards. It is also revealed that Robin isn’t an outlaw, but a lord just passing through and explains why he is hiding his face with a hood as to not be recognised. This subverts he audience expectation of the general narrative whilst paying homage to the source material, with an awareness to fidelity. Concluding that fidelity can be altered, if it remains aware of audience knowledge to the subject and expectations.
One narrative in particular that is frequently repeated throughout television and film adaptation of Robin Hood, is the meeting between Robin and Little John. The scene is classic and well know through modern retellings. The characters initial meeting littered with hostility, back and forth banter, and a fight breaking out between them both using wooden staffs before becoming best friends after. Often located on a bridge or area of water. As this is a part of the conventional perspective of the Robin Hood story, when going to watch an adaptation of ‘Robin Hood’, audiences will expect to see a variation of this scene in the retelling. We must question how this scene has been retold in the modern setting by determining where it originated from. This is in order to judge whether it holds fidelity to the source material in BBC’s ‘Robin Hood’.
Little John’s character is the oldest existing merry man to be featured in the earliest texts and ballads. Most known as Robin’s right hand-man. Appearing first in “gest of Robin Hood” (Child, 1450: 117) as a gentle knight. However, this modern perception that is depicted in today’s media, showing Little John as a large brutish warrior who first meets Robin in a fight when traveling across a bridge, wasn’t introduced until the 15th century. It is “the first instance of a trope that grew to be a standard event in Robin Hood legends; Robin meets his match.” (Thorndycroft, 2018). This scene is continuously reproduced in television and has become an iconic Robin Hood scene. This is because “all adaptation expresses or address a desire to return to an ‘original’ textual encounter” (Carroll, 2009: 1). To analyse whether BBC Robin Hood holds fidelity, I will first compare it to the earliest television adaptation.
‘The adventures of Robin Hood’ (1953) narrative involves Little John needing to capture Robin Hood to regain his freedom and relinquish his outlaw status. He is described as being “not an ordinary man” (‘Dead or Alive’, 1955, 8:43) to highlight how he is a worthy contender against Robin. They meet across a bridge where they fight with sticks and Little John overcomes Robin by pushing him in the water. Afterwards they laugh it off and become friends. Little John’s wooden staff becoming iconic prop in the Robin hood legend and remaining truthful to the audience’s expectations. Therefore, it could be considered a ‘good’ adaptation for holding fidelity in how it replicates the origin story for Little John in the ballads. Similar version of the same scene have been reproduced throughout the history of Robin Hood television and film. More recently, Robin Hood Prince of Thieves (1991) includes an almost identical scene, the only difference being Little John is instead a leader of an already established outlaw group and ambushes Robin with an intention of robbing him as he crosses a stream. This constant push of recreations and adaptation of the same story, allows the “pre-existing expectations and knowledge[…] to be negotiated, while at the same time the continuous reworking of familiar stories serves to keep them fresh and meaningful.” (Kleineche-Bates, 2009:111). ‘Authorship in Film Adaptation’ describes the idea that “production, exhibition, and reception” (Boozer, 2008:1) requires a recognition of public interest and in the theory, that in order to recycle old content, it requires audience to have a pre-existing awareness of the content. A scene like this, which is ingrained in popular culture, is able to adapt to different audiences.
Meanwhile, the BBC’s Robin Hood’s retelling of this same scene is slightly different. With every adaptation an inevitable “transformative of its object” (Carroll, 2009: 1). Faithful to its predecessors, BBC Robin Hood mimics ‘Prince of Thieve(1991) in the sense that Little John is already an outlaw with a gang of his own, and like ‘The Adventures of robin Hood’ (19951960) intends to earn the bounty for his capture in order to earn his freedom back. The adaptation applying a much more comical tone and approach with use of repetitive humour. Little John first overcomes Robin and ties him up, before Robin then comes after him and does the same back. Little John only decides to help Robin after meeting his son for the first time and discovering how Robin has helped him. The work of ‘Channeling Wonder : Fairy Tales on Television’ (Greenhill, 2014) describes how fairy tales are adapted to a modern age by often including tropes such as dysfunctional family dynamics. Converging genres of drama and adventure shows the focus on family relationships that maintaining historical fidelity in order to appeal to a wider, family audience and make it contemporary. However, despite the setting, location and tone being much different, the same formular applies, retaining the same hostility between the two characters first meeting and the infamous fight breaking out which is recognisable from the original source material. This fits with the idea that “when analysing adaptations, we should look at the scenes or tone of the fiction and the film. If these are consistent, then the adaptation is considered to be faithful.” (Miller et al, 2008) and reflects that it is not the narrative that is important when converging a text into film, but the intertextuality of consistent themes between them both.
In conclusion, this convergence of two different forms of storytelling (television and text), forces change to be made. A method of this is drifting theory, described as being “one medium to another, provoking transformation and becoming in the process” (Hodgkins, 2013). Robin Hood (2006-2009) and this change is made through inspiration of previous adaptations and stories, considering audience expectations and attempts to subvert in order to create something fresh and new. As such, Robin Hood is not exact replica of the source it is attempting to recreate and does not attempt to be. In that sense no matter how ‘faithful’ in intention it is, “every adaptation is an instance of textual infidelity” (Carroll, 2009:1). A story like Robin Hood that has been repeated so many times, must stray away from exact replicas, in order to remain relevant as if the same story was repeated over and over, no one would want to watch it. Therefore, to question the similarities between plots of original and adaptation is irrelevant
CHAPTER 3: INCLUSION OF A MUSLIM CHARACTER; post 9/11
In a more recent post-modern era of television there had been a high demand and focus on content for underrepresented individuals. In a society of multi-cultures, there has been an emphasis in modern media studies that suggests audience construct what it is to be a certain race “is shaped by commodified texts produced by media [..] and is central to what ultimately come to represent our social realities.” (Brooks, 2006 pg. 297). Unfortunately, In the number of Robin Hood ballads, dating back to the 12th century, there is no mention of diversity, despite the variety of white characters featured. Though not authentic to the original source material, nor the image of popular culture narrative which has been constructed, there was an urgent need to update to the modern age, in order to “to reflect the multicultural realities of the modern world” (Clouet, 2001: 44). This has forced the legend to adapt in order to survive. First introduced in ITV’s ‘Robin of Sherwood’ (1984 –
1986) that included a Saracen outlaw into the merry men. The inclusion “of a Saracen into the myth is an entirely modern phenomenon” (Smith, 2014: 72) and has become common practise for all since Robin Hood adaptation to place a Muslim character into the narrative. However, Robin Hood BBC (2006-2009) is the first to represent diversity post 9/11. This chapter will explore how representation of the Muslim and Islamic faith through continued adaptations, inspired by previous works and how this representation has transformed through changes in social climates. Analysing whether Robin Hood BBC depicts positive or negative representation of Muslim characters in a post 9/11 era.
First awoken in a Britain ruled by Thatcher’s right wing policies on immigration, the television series; Robin of Sherwood (1984-1986), written by Richard Carpenter, pushes forth “left wind policies in opposition of conservatism of 1980’s” (Martone, 2009). However, the inclusion of the first reoccurring Muslim character into a contemporary Robin Hood, happened by accident, as they intended to kill the west Asian character, Naris (Mark Ryan) off in the first episode, but his popularity made him a series regular for three more seasons.
First introduced as a slave to a baron practising magic, and has cursed Naris to be his assassin. After the curse is broken by Robin, Nasir decides to stay to fight with Robin. No longer seen as an outsider but an “integrated Muslim” (2009) subverting the common practise that Muslims are outsiders to the English identity and represented through “repetitive images of Arabs […] as Godless enemies” (Shaheen, 2009). Nevertheless, the introduction of Nasir could also be argued as problematic. Portrayed by a white actors and introduced under the superstition of magic and curses, creating a foreign entity of the unknown. Throughout the show Nasir barely has any dialogue, and is clothed in black armour. Offering a mysterious presence and marginalizing his character from the rest of them. Though the events of 9/11 are often seen as a transformation into representing
Muslims as the enemy, it could be argued that this negative portrayal as seeing Muslims as ‘different’ “has always been with us” (2009). However, in spite of this unintentional negative representation, series did provide a catalyst to affect the following adaptations which also attempted to repeat this representation of Muslim community and the Islamic faith. Thus, popularising it in the Robin Hood narrative. Followed closely by the film; ‘Robin Hood: Prince of Thieves’ (1991) with the character of ‘Azeem’ (Morgan Freeman) who Robin saves in the crusades. Azeem decides to follow Robin back to England in order to pay back the debt for his life. As since, the Muslim character in the legend has been there to aid the white Robin.
However, in a post 9/11 world, the FBI’s statistics recorded that “hate crimes against Arabs and Muslims multiplied by 1,600 percent from 2000 to 2001” (Alsultany, 2013). As described previously, the media’s power is what aids in the depiction of audience’s own reality and therefore, have a responsibility to remain sensitive and careful when attempting to represent a community battling hate crime daily. Consequently, the aftermath of 9/11 unveiled a surprising shift in more positive representation of Muslim character in television, in order to “offset the negative depictions” (2013) and counter the violent hate crimes witness by Muslims in reality. They attempt this by showing “multiple stories appear[ing] on TV dramas with Arab or Muslim [characters] as the unjust targets of hate,” (2013). The theory describes a postrace era of television, where the media attempt to reveal patriotic Muslims aiding their country to ingrain them into the western culture in order to calm moral panic. The character of ‘Djaq’ in BBC’s Robin Hood, conforms to this theory. She is a recurring character throughout the first two seasons of the show. Her character is introduced in 1×05 ‘Turk Flu’ (2006) where she is chained inside a small cage with half a dozen other ‘Saracens’ and it is revealed she has been stolen from her home land, Israel, by
English slave traders and shipped to England as a slave of war to work in the Sheriff’s mines. In the setting of the Holy War, the series depicts it as a war between the western (English) and eastern world. However, rather than demonising her race, she is depicted as a victim in need of saving, creating sympathy for her. As well as this, throughout the series she openly prays to ‘Allah’. The gang is accepting of her faith rather than dismissive or create mockery of it. For instance, after Djaq saves Marian’s life in 1×12 ‘A Clue: No’ (2006) The gang even praise Allah themselves to show support for Djaq without dismissing her beliefs, demonstrating the “symbolism [of] multicultural progress” (2013). As well as this, the mention of the Korean is heavily referred to throughout the series. In 1×04, the team are in doubt over their mission, and Robin attempts to inspire them by quoting “for every man there is a purpose for which he sets up in his life. let yours be the doing of all good deeds” (‘ParentHood’, 2006, 12:38). The gang assume it is a passage from the bible, but is instead from the Korean. We learn that Robin decided to read it, after fighting in the Holy Wars and wanted to understand what exactly he was battling. His respect and non-judgement for the faith is intended to inspire the audience to be like him and represents the peaceful attributes of the Islamic faith that are rarely represented through television. This is a stark contrast to the 1991 film ‘Prince of Thieves’ who shows Robin repeatedly not understanding Azeems need to pray and criticises him for it. Revealing a transition in a post 9/11 world in how positive representation has transitioned through adaptation and events forcing changes to be made.
On the other hand, the portrayal of Muslim characters is from a westernised viewpoint and has been created in the image of our own society’s attitudes towards the culture. The western media is responsible for maintaining the terrorist image associated with Muslims as whilst it attempts to depict ‘positive’ representations, these characters are often only the “Muslims who aids […] in fighting the evil Muslim” (Ramji, 2018) and therefore only considered ‘positive’ when the Muslim character is a westernised Muslim. In 2×13, titled; ‘We are Robin Hood’ (2007), the gang travel to the holy lands, Israel, to speak to King
Richard, and return to Djaq’s homeland. When visiting her childhood town she reveals that “this town is back in the hands of my people” (‘We are Robin Hood, 2007, 4:24). However, her people have imposed strict rules of curfews and patrol the streets throughout the night.
The gang have to dodge them as they are the opposing opposition and antagonists of the episode. They are all wearing uniforms that disguise their face and is a similar visual of a burqa or niqab. This depicts the conventional ‘evil muslim’ as well as exploiting the fear mongering over traditional religious attire by associating it with the enemy. Despite attempting positive representation in Djaq, who is a well rounded and explored character, she is only seen in this light as she is ingrained in the English-group and shown to fight alongside them and share in their beliefs. It cannot escape the westernised viewpoint that dictates that Muslims characters are only perceived in a “positive light, because they are accepting and accommodating.” (Ramji, 2016) Thus, reinforces the idea that Muslims who do not cooperate or not defined by western culture, are evil.
The Robin Hood story is set in a completely different context today that it was in any previous adaptation or source materials. With the invention of media, and more precisely, news, it is often the source of blame for the provoked sense of fear and panic installed in British society, post 9/11, over worries of Muslims ingraining themselves into British culture and the extremist Islamic faith. With the media’s ability to “control and filter information, selectively determining what Westerners learn about Islam.” (Baker et al, 2013: 17). The danger in this lies in misleading audiences of their interpretation of a subject, and causes the villainization of all Muslims and not just extremist. With an alarming number of article released post 9/11, that portrayed “Islam as oppressive, outmoded, anti-intellectual, restrictive, extremist, backward, dangerous and causing conflict.” (2013: 17). Through lack of being uninformed and soaking in news content, moral panic is created. In this cycle we understand that the portrayal of reality in which the media reflects, becomes reality itself. In their attempt to recreate the story and adapt to this setting of hostility and conflict found in reality, BBC’s Robin Hood comments on this moral and uninformed panic. In 1×10, titled; ‘Peace? Off!’ Prince Malik (an eastern prince of Israel) approaches the gang with advanced healing equipment in the shape of a black mask with needles in it the mis-en-scene attempting to make it look scary and strange, as the character don’t understand what it is used for and assume it is for something evil. They curse it as the witches work and attempt to run away from it. Little John paints a cross above his head and refuses to move anywhere as he is protected from ‘the devil’ beneath it. With the biggest and toughest character from the group shown to shy away in fear, the series uses comedy through overdramatising their response of the foreign object and intend to mock their behaviour for the audience to judge. Visually depicting how real people were reacting to something they didn’t understand due fear and lack of knowledge.
This idea that our understanding of Muslim identity is still represented through the media is a worrying issue, and through adaptation, Robin Hood BBC had attempted to move away from these obvious stereotypes that previous Muslim characters in the legend have conformed too. There has been a pressing push for representation in media, however the issue still is that “Muslim identities are still understood and evaluated primarily in relation to terrorism.” (Alsultany, 2013). Considering this, one of Djaq’s major story arcs consist of her obsession for a substance called black powder, a previous name for gunpowder. The powder is described as being able “to take out a whole town” (‘A thing or two about loyalty’, 2006, 4:41) and is described as “evil. It doesn’t require any courage, or strength, or wit to use it” (‘A thing or two about loyalty’, 2006, 5:04). Djaq complains that her culture do not get credit for making the substance and steals a copy of the instructions to make it herself. With her vast knowledge of the subject, and descriptions that strike images of 9/11. It is certain that the effects of 9/11 have impacted the way in which Muslim characters are represented and treated, differently to previous Robin Hood adaptations. Whether positively or not is still to be determined, but especially in regard to terrorism. Though it is unclear whether this was intentional or not, perhaps the following television adaptation of Robin Hood to come will attempt to move further away from negative and harmful stereotypes that impact cultural identities and what audiences are informed on.
In conclusion, this adaptation of the legend is predominantly fixed in a post 9/11 era. There is a transition of change in attempting to positively represent Muslim identity by ingraining them fully into the British identity, not just as outsiders, as well as celebrating their differences in culture and faith. However, it is also specifically for a western audience, dictated by a westernised point of view. Though the series criticises injustice and hate crimes against Muslims, it also unconsciously expands it by being framed from this western perspective. As such “narratives are framed within a narrow and reductive range of racialized tropes defined by … ethnocentric worldview of (white) media gatekeepers” (Grey et al, 2013: 239). Thus, defined by a restricted representation, unable to be explored fully.
The relationship between representation and adaptation is defined by the change of era and current events that have shaped Muslim representation of television. The purpose of an adaptation is to survive through time, and thus evolve to fit the period. In order for Robin Hood to continue, it must first identify the cultures of the world and attempt to represent, in spite of the original source material not doing so. We can fully predict this trend of adding Muslim characters into the legend will continue through television adaptations as it has done into film. In 2018, Lionsgate production released a film called; ‘Robin Hood’ starring Taaron Egerton as Robin Hood, and Jamie Foxx as Little John. It shows Little John as am eastern sidekick who trains Robin in the skill of bow after he loses his hands.
CONCLUSION;
“the tales of Robin Hood have always reflected what the teller and the audience needed
him to be at the time of the telling”
(Doniger, 2004)
In summary, Robin Hood is unable to be perceived the way it would have been when the legend was first created. Times have evolved. This is through the invention of news and mass information, as well as a need for representation and the development of politics in the modern world. Consequently, the well-known myths original themes would not hold the same impact. However, he story has a capacity to suit the audience of the era, and has proved so through the numerous adaptations, and in no less the 2006; Robin Hood television series which very clearly attempts to update the story to the 21st century. It does this through linking the very real Iraq War at the time, that affected the lives of the audience in which it is aimed at and places this into the characters, to create a connection between realism and narrative. Whilst attempting to remain loyal to the original source material, retaining fidelity. However, despite all these alterations that manages to keep the story fresh, the narrative still retains the similar feel of a ‘Robin Hood story’, as it is “a combination of reflections on different themes such as race, gender, politics, and, more particularly, oppression” which carries on throughout every adaptation. It is clear that Robin Hood “appears in a time of crisis” to reflect these themes. Notably, “higher periods of Robin Hood activity took place took place for instance in the 1980s, the years between the two World Wars or even the 1820s, respectively for the Reagan/Thatcher years.” (All Answers Ltd., 2018). Robin Hood BBC is no different, adapting the legend in a time of war, uncertainty, and fear in order to reflect these same themes and connect with reality. Therefore, we can conclude that despite alterations to fit differing audience, the legend will always appear in moments of social and political crisis to inspire hope.
…In Conclusion:
Despite the hardships of peasant life in the 15th century, entertainment and leisure were still an essential part of their existence. Festivals, music, storytelling, and games provided moments of joy and community, and offered a respite from the daily grind of survival. While their lives were shaped by the demands of feudal society, peasants found ways to celebrate, share stories, and indulge in simple pleasures that connected them to their history, their faith, and each other.
Looking back, it’s fascinating to see how many of these pastimes – dancing, storytelling, sports, and even games like Nine Men’s Morris – have endured in some form today. Though we now live in an age of digital entertainment, the human desire for fun, connection, and tradition remains unchanged. If anything, the entertainment of the 15th century reminds us that even in the toughest times, people have always sought ways to come together, celebrate, and create joy in their own unique ways.
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