In July 1993 Barrie Dobson and I attended the world première of the film The Anchoress, directed by Chris Newby, at the Arts Cinema in Cambridge. After the screening Barrie offered a few thoughts to the audience: he was as much at ease talking about the film as he always is in more conventional settings for historical discussion. It is the wide interests, the humour and curiosity about people, the gentle engagement so characteristic of Barrie, which I wish to salute in this article by bringing together two of Barrie's passions: film and late medieval religion.

Joining the new University of York in 1964, Barrie threw his energies and talent into helping to create one of the best medieval history centres in the world. He was a passionate lover of film, yet around him in York, as elsewhere, cinemas were being closed down. Soon after his arrival in York a chance glance at an advertisement in the local newspaper brought Barrie to the York Film Society's Annual General Meeting. At that, his first meeting, Barrie became a committee member, and within a fortnight, the Society's Secretary. Desperate to enliven his new charge, Barrie wrote off to the British Film Institute with a vague hope for some support or advice. Little did he expect the warm embrace in which he became enfolded: his letter coincided with one of Harold Wilson's pet initiatives, a policy for art in the regions which allocated funding and dedicated expertise.