Abstract
More closely than other recent Shakespeare films, Oliver Parker’s Othello (1995) and Tim Blake Nelson’s ‘O’ (2001) have become associated with high-profile incidents that were the subject of considerable public controversy and received widespread media attention. Respectively coincident with these events and distributed in their wake, Parker and Nelson’s versions of Shakespeare’s Othello are indissolubly linked in the popular consciousness to the American football star O. J. Simpson’s trial for the murder of his wife, Nicole Simpson, and her friend, Ronald Goldman, and, to the ‘massacre’ at Columbine High School in Littleton, Colorado, when Eric Harris and Dylan Klebold shot dead twelve students and one teacher, before turning their guns on themselves.1
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Notes
For typical readings, see Ariane M. Balizet, Teen Scenes: Recognizing Shakespeare in Teen Film’, in James R. Keller and Leslie Stratyner, eds, Almost Shakespeare: Reinventing his Works for Cinema and Television (Jefferson, NC and London: McFarland, 2004), p. 133
Barbara Hodgdon, The Shakespeare Trade: Performances and Appropriations (Philadelphia: University of Pennsylvania Press, 1998), pp. 59–73
Hodgdon, Raceing ‘Othello: Re-engendering White-Out, II’, in Richard Burt and Lynda E. Boose, eds, Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (London and New York: Routledge, 2003), p. 100.
Brooks Brown and Rob Merritt, No Easy Answers: The Truth Behind the Death at Columbine (New York: Lantern, 2002), pp. 20, 46.
See Jeffrey Martinek, “An Ebullition of Fancy”: Othello, Orenthal James Simpson, and the Play of the “Race Card”’, Studies in the Humanities, 25.1–2 (1998), p. 67.
Marjorie Garber, Quotation Marks (New York and London: Routledge, 2003), p. 2.
Mike Featherstone, ‘Global Culture: An Introduction’, in Mike Featherstone, ed., Global Culture: Nationalism, Globalization and Modernity (London: Sage, 1990), p. 2.
Caroline Knowles, Race and Social Analysis (London: Sage, 2003), p. 116
Jan Aart Scholte, Globalization: A Critical Introduction (Basingstoke: Macmillan, 2000), p. 30.
Malcolm Waters, Globalization, 2nd edn. (London and New York: Routledge, 2001), pp. 192–3.
Stephen May, ‘Multiculturalism’, in David Theo Goldberg and John Solomos, eds, A Companion to Racial and Ethnic Studies (Oxford: Blackwell, 2002), p. 133.
Jane Caplan, ‘Introduction’, in Jane Caplan, ed., Written on the Body: The Tattoo in European and American History (London: Reaktion, 2000), pp. xi, xiv.
Homi Bhabha, The Location of Culture (London and New York: Routledge, 1994), pp. 13, 14.
Pascale Aebischer, Shakespeare’s Violated Bodies: Stage and Screen Performance (Cambridge: Cambridge University Press, 2004), p. 147.
Douglas Kellner, Media Spectacle (London and New York: Routledge, 2003), pp. 69, 84.
Deborah Cartmell, Interpreting Shakespeare on Screen (Basingstoke: Macmillan, 2000), p. 76; Hodgdon, The Shakespeare Trade, p. 66.
Stuart Hall, ‘New Ethnicities’, in Linda Martin Alcoff and Eduardo Mendieta, eds, Race, Class, Gender, and Nationality (Oxford: Blackwell, 2003), p. 92.
Sarah Hatchuel, Shakespeare, from Stage to Screen (Cambridge: Cambridge University Press, 2004), p. 105
Frantz Fanon, Black Skin, White Masks, trans. Charles Lam Markmann (London and Sydney: Pluto, 1986), p. 13.
Patricia Dorval, ‘Shakespeare on Screen: Threshold Aesthetics in Oliver Parker’s Othello’, Early Modern Literary Studies, 6.1 (2000), p. 8; Buchanan, ‘Virgin and Ape’, p. 191.
Linda Williams, Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson (Princeton, NJ: Princeton University Press, 2001), p. 138.
Reinhart Kössler, ‘Globalization and Human Rights: Some Developmental Reflections’, in Frans J. Schuurman, ed., Globalization and Development Studies: Challenges for the Twenty-First Century (London: Sage, 2001), p. 85.
Stephen M. Buhler, Shakespeare in the Cinema: Ocular Proof (New York: State University of New York Press, 2002), p. 27.
Kenneth Rothwell, A History of Shakespeare on Screen: A Century of Film and Television, 2nd edn. (Cambridge: Cambridge University Press, 2004), p. 226.
Kim Hall, Things of Darkness: Economies of Race and Gender in Early Modern England (Ithaca, NY and London: Cornell University Press, 1995), pp. 177, 264.
William Ian Miller, The Anatomy of Disgust (Cambridge, MA.: Harvard University Press, 1997), p. Ill
Elizabeth A. Deitchman, ‘Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture’, in Barbara Hodgdon and W. B. Worthen, eds, A Companion to Shakespeare and Performance (Oxford: Blackwell, 2005), p. 490.
Bryan S. Turner, The Possibility of Primitiveness: Towards a Sociology of Body Marks in Cool Societies’, in Mike Featherstone, ed., Body Modification (London: Sage, 2000), p. 40.
bell hooks, We Real Cool: Black Men and Masculinity (London and New York: Routledge, 2004), p. 63.
Stephen Moss, ‘Blacked up and Proud’, Guardian, 28 July 2005 (www.guardian.co.uk/arts/features/story/0153798300.html).
Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982), p. 49.
Andrew L. Barlow, Between Fear and Hope: Globalization and Race in the United States (Lanham, ML): Rowman and Littlefield, 2003), p. 104.
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© 2007 Mark Thornton Burnett
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Burnett, M.T. (2007). Racial Identities, Global Economies. In: Filming Shakespeare in the Global Marketplace. Palgrave Shakespeare Studies. Palgrave Macmillan, London. https://doi.org/10.1057/9780230800809_5
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DOI: https://doi.org/10.1057/9780230800809_5
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