Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-13T02:06:54.041Z Has data issue: false hasContentIssue false

Chapter 1 - Introduction

Ensnared in Othello on screen

Published online by Cambridge University Press:  05 July 2015

Sarah Hatchuel
Affiliation:
University of Le Havre
Nathalie Vienne-Guerrin
Affiliation:
Université Paul Valéry, Montpellier
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works cited

Aebischer, P., Shakespeare's Violated Bodies: Stage and Screen Performance (Cambridge: Cambridge University Press, 2004).Google Scholar
Anderegg, M., Orson Welles, Shakespeare and Popular Culture (New York: Columbia University Press, 1999).Google Scholar
Andreas, J. R., ‘The Curse of Cush: Othello's Judaic Ancestry’, in Kolin, P. (ed.), ‘Othello’: New Critical Essays (New York and London: Routledge, 2002), 169–88.Google Scholar
Ball, R. H., Shakespeare on Silent Film: A Strange Eventful History (New York: Theatre Arts Books, 1968).Google Scholar
Buchanan, J., ‘Virgin and Ape, Venetian and Infidel: Labellings of Otherness in Oliver Parker's Othello’, in Burnett, M. T. and Wray, R. (eds.), Shakespeare, Film, Fin de Siècle (Basingstoke: Macmillan, 2000), 179202.Google Scholar
Buchanan, J., Shakespeare on Film (Harlow: Pearson Longman, 2005).Google Scholar
Buchanan, J., Shakespeare on Silent Film. An Excellent Dumb Discourse (Cambridge: Cambridge University Press, 2009).Google Scholar
Buhler, S. M., Shakespeare in the Cinema: Ocular Proof (Albany: State University of New York Press, 2002).Google Scholar
Burnett, M. T., Filming Shakespeare in the Global Marketplace (Basingstoke and New York: Palgrave, 2007).CrossRefGoogle Scholar
Burnett, M. T., Shakespeare and World Cinema (Cambridge: Cambridge University Press, 2013).Google Scholar
Burt, R., ‘Slammin’ Shakespeare in Acc(id)ents Yet Unknown: Liveness, Cinem(edi)a, and Racial Dis-Integration’, Shakespeare Quarterly, 53.2 (2002), 201–26.CrossRefGoogle Scholar
Burt, R., Unspeakable Shaxxxspeares. Queer Theory and American Kiddie Culture (Houndmills, Basingstoke and London: Macmillan, 1998)CrossRefGoogle Scholar
Chakravarti, P., ‘Modernity, Postcoloniality and Othello: The Case of Saptapadi’, in Aebischer, P., Esche, E. J. and Wheale, N. (eds.), Remaking Shakespeare: Performance across Media, Genres and Cultures (Basingstoke and New York: Palgrave Macmillan, 2003), 3955.Google Scholar
Daileader, C., Racism, Misogyny, and the Othello Myth: Inter-racial Couples from Shakespeare to Spike Lee (Cambridge: Cambridge University Press, 2005).Google Scholar
Davies, A., Filming Shakespeare's Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa (Cambridge: Cambridge University Press, 1988).CrossRefGoogle Scholar
Dyer, R., Heavenly Bodies: Film Stars and Society (London: BFI, Macmillan, 1987).Google Scholar
Fanon, F., Black Skin, White Masks, trans. Markmann, C. L. (London and Sydney: Pluto, 1986).Google Scholar
Hall, K. F., Things of Darkness: Economies of Race and Gender in Early Modern England (Ithaca and New York: Cornell University Press, 1995).Google Scholar
Hatchuel, S. and Vienne-Guerrin, N., ‘“O monstrous”: Claude Barma's French 1962 TV Othello’, Dorval, P. and Vienne-Guerrin, N. (eds.), Shakespeare on Screen in Francophonia, Montpellier (France), Université Montpellier III, Institut de Recherche sur la Renaissance, l’Âge Classique et les Lumières (IRCL): 2014: www.shakscreen.org/analysis/barma_othello/.Google Scholar
Hendricks, M., ‘Visions of Colour: Spectacle, Spectators and the Performance of Race’, in Hodgdon, B. and Worthen, W. B. (eds.), A Companion to Shakespeare and Performance (Malden: Blackwell, 2005), 511–26.Google Scholar
Hodgdon, B., ‘Kiss Me Deadly; or, the Des/Demonized Spectacle’, in Vaughan, V. M. and Cartwright, K. (eds.), ‘Othello’: New Perspectives (Rutherford: Fairleigh Dickinson University Press, 1991), 214–55.Google Scholar
Hodgdon, B., ‘Race-ing Othello, Re-engendering White-out, II’, in Burt, R. and Boose, L. E. (eds.), Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (London and New York: Routledge, 2003), 89104.Google Scholar
Lanier, D. M., ‘L'homme blanc et l'homme noir: Othello in Les Enfants du paradis’, in Vienne-Guerrin, N. and Dorval, P. (eds.), Shakespeare on Screen in Francophonia (2010–), University Montpellier III, Institut de Recherche sur la Renaissance, l’Âge Classique et les Lumières (IRCL): 2013: http://shakscreen.org/analysis/analysis_homme_blanc/ (last modified 25 March 2013).Google Scholar
Lanier, D. M., ‘Murdering Othello’, in Cartmell, D. (ed.), A Companion to Literature, Film, and Adaptation (Malden and Oxford: Wiley-Blackwell, 2012), 198215.CrossRefGoogle Scholar
Lanier, D. M., Lindberg 2010 lecture ‘Post-racial Othello’, added online in June 2012, www.youtube.com/watch?v=ScroEtGwmOQ (accessed 25 July 2014). 45 min.Google Scholar
Little, A. L. Jr, Shakespeare Jungle Fever: National-Imperial Re-Visions of Race, Rape, and Sacrifice (Stanford: Stanford University Press, 2000).Google Scholar
Massai, S., ‘Subjection and Redemption in Pasolini's Othello’, in Massai, S. (ed.), World-Wide Shakespeares: Local Appropriations in Film and Performance (London and New York: Routledge, 2005), 95103.Google Scholar
McDonald, R., Nace, N. D. and Williams, T. D. (eds.), Shakespeare Up Close. Reading Early Modern Texts (London and New York: Bloomsbury, Arden, 2012).CrossRefGoogle Scholar
Neill, M., ‘The Look of Othello’, Shakespeare Survey, 62 (2009), 104–22.Google Scholar
O'Neill, S., Shakespeare and YouTube. New Media Forms of the Bard (London and New York: Bloomsbury, Arden, 2014).Google Scholar
Potter, L., Othello (Manchester: Manchester University Press, 2002).Google Scholar
Quarshie, H., ‘Second Thoughts About Othello’, International Shakespeare Association Occasional Papers 7 (1999), 125.Google Scholar
Rothwell, K. S., A History of Shakespeare on Screen: A Century of Film and Television, 2nd edition (Cambridge: Cambridge University Press, 2004).Google Scholar
Rutter, C., ‘Looking at Shakespeare's Women on Film’, in Jackson, R. (ed.), The Cambridge Companion to Shakespeare on Film, 2nd edition (Cambridge: Cambridge University Press, 2007), 245–66.Google Scholar
Starks, L. S., ‘The Veiled (Hot) Bed of Race and Desire: Parker's Othello and the Stereotype as Screen Fetish’, Post Script: Essays in Film and the Humanities 17.1 (Fall 1997), 6478.Google Scholar
Taylor, G., Buying Whiteness: Race, Culture, and Identity from Columbus to Hip-Hop (New York: Palgrave, 2005), 658.Google Scholar
Taylor, N., ‘National and Racial Stereotypes in Shakespeare Films’, in Jackson, R. (ed.), The Cambridge Companion to Shakespeare on Film, 2nd edition (Cambridge: Cambridge University Press, 2007), 267–79.Google Scholar
Thompson, A., ‘Unmooring the Moor, Researching and Teaching’, Shakespeare Quarterly,61.3 (Fall 2010), 337–56.Google Scholar
Wilson-Knight, G. The Wheel of Fire (Oxford: Oxford University Press, 1930).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×