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Article Title

Preface

Abstract

Co-editors Georgiana Donavin and Eve Salisbury are delighted to feature the work of medievalist and machinimatographer Sarah L. Higley in this issue of Accessus. In a machinima production that debuted during the Third International Congress of the John Gower Society at the University of Rochester (30 June through 3 July, 2014), Higley refashions three tales from the Confessio Amantis for her film The Lover's Confession. In this issue of Accessus, we present the film and Higley's commentary on the intersections between her creative work with machinima and scholarly issues surrounding "The Tale of the Travelers and the Angel," "The Tale of Canace and Machaire," and "The Tale of Florent." Higley's work captures our philosophy concerning new media representations of premodern literature.

Acknowledgments

We express our admiration for the local organizer of the Third International Congress of the John Gower Society, Russell Peck, whose abounding energy, brilliance, and foresight contributed not only to a well-structured and stimulating conference, but also to the perpetuation of such forward-looking projects as Sarah L. Higley's, which we are publishing here.