Oxford University Press
Four themes distinguish post-1950s East Asian cinemas and theaters from works in other parts of the world: Japanese innovations in sound and spectacle; Sinophone uses of Shakespeare for social reparation; the reception of South Korean presentations of gender identities in film and touring productions; and multilingual, disability, and racial discourses in cinema and diasporic theatre in Asian America, Singapore, and the UK.
A study of ideas related to race throughout history. Distinguished by its breadth of coverage, both geographically and temporally, this book provides readers with an expansive, global understanding of the term from the classical period onwards:
• Intersections of Race and Gender
• Race and Social Theory Identity
• Ethnicity, and Immigration
• Whiteness and Legislative and Judicial Markings of Difference
• Race in South Africa, Israel, East Asia, Asian America
• Blackness in a Global Context
• Race in the History of Science
• Critical Race Theory
Shakespeare’s plays and motifs have been appropriated in fragmentary forms on screen since motion pictures were invented in 1893. Allusions include brief references and sustained intertextual engagements. This volume extends beyond a US-UK axis to bring together an international group of scholars to explore Shakespearean appropriations in unexpected contexts in lesser-known films and television shows in India, Brazil, Russia, France, Australia, South Africa, East-Central Europe and Italy, with reference to some filmed stage works.
At a time when Shakespeare is becoming increasingly globalized and diversified it is urgent more than ever to ask how this appropriated Shakespeare constructs ethical value across cultural and other fault lines. Shakespeare and the Ethics of Appropriation is the first book to address the intersection of ethics, aesthetics, authority, and authenticity in a global context.
Hamlet, Macbeth, and King Lear have inspired incredible work in the Sinophone theatres of Hong Kong, Taiwan, and China as political theatre, comedic parody, Chinese opera, and avant-garde theatre. Organized thematically to address the cultural exigencies between 1987 and 2007, this collection of translated plays showcases some gems of Sinophone cultures that stand at the intersection of East Asian and Anglophone dramas.
Shakespeare has often offered orientation and even emotional refuge both to people in crisis and to those contemplating it. Shakespeare has also been performed by and for refugees. Essays in this volume examine how Shakespeare has been used for socially and politically reparative purposes. Parallel, political uses of Shakespeare for socially progressive causes have also emerged in Latin America, which is why the present volume features a second thematic section. The two clusters of essays on refuge and on Latin America speak to each other in their nuanced reframing of concepts such as the local and the global as well as antipathy and political uses of Shakespeare.
For close to two hundred years, the ideas of Shakespeare have inspired incredible work in the literature, fiction, theater, and cinema of China, Taiwan, and Hong Kong. From the novels of Lao She and Lin Shu to Lu Xun’s search for a Chinese “Shakespeare,” and from Feng Xiaogang’s martial arts films to labor camp memoirs, Soviet-Chinese theater, Chinese opera in Europe, and silent film, Shakespeare has been put to work in unexpected places, yielding a rich trove of transnational imagery and paradoxical citations in popular and political culture.
