Book contents
- ‘Hamlet’ and World Cinema
- ‘Hamlet’ and World Cinema
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgements
- A note on texts and titles
- Introduction
- Chapter One Hamlet, Cinema and the Histories of Western Europe
- Chapter Two Thematizing Place: Hamlet, Cinema and Africa
- Chapter Three Hamlet and the Moment of Brazilian Cinema
- Chapter Four Pairing the Cinematic Prince: Hamlet, China and Japan
- Chapter Five Hamlet and Indian Cinemas: Regional Paradigms
- Chapter Six Gendering Borders: Hamlet and the Cinemas of Turkey and Iran
- Chapter Seven Materializing Hamlet in the Cinemas of Russia, Central and Eastern Europe
- Filmography
- Bibliography
- Index
- References
Bibliography
Published online by Cambridge University Press: 21 June 2019
Book contents
- ‘Hamlet’ and World Cinema
- ‘Hamlet’ and World Cinema
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgements
- A note on texts and titles
- Introduction
- Chapter One Hamlet, Cinema and the Histories of Western Europe
- Chapter Two Thematizing Place: Hamlet, Cinema and Africa
- Chapter Three Hamlet and the Moment of Brazilian Cinema
- Chapter Four Pairing the Cinematic Prince: Hamlet, China and Japan
- Chapter Five Hamlet and Indian Cinemas: Regional Paradigms
- Chapter Six Gendering Borders: Hamlet and the Cinemas of Turkey and Iran
- Chapter Seven Materializing Hamlet in the Cinemas of Russia, Central and Eastern Europe
- Filmography
- Bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- 'Hamlet' and World Cinema , pp. 256 - 283Publisher: Cambridge University PressPrint publication year: 2019
References
Primary Sources
Adelman, Janet, Suffocating Mothers: Fantasies of Material Origin in Shakespeare’s Plays, ‘Hamlet’ to ‘The Tempest’. London and New York: Routledge, 1992.Google Scholar
Adler, Peter, and Barnard, Nicholas, African Majesty: The Textile Art of the Ashanti and the Ewe. London: Thames and Hudson, 1992.Google Scholar
Aebischer, Pascale, Screening Early Modern Drama: Beyond Shakespeare. Cambridge: Cambridge University Press, 2013.Google Scholar
Presse-France, Agence, ‘Indian Forces in Kashmir Kill Top Commander of Militant Group’, The Guardian, 27 December (2017), p. 21.Google Scholar
Agovi, Kofi Ermeleh, ‘Joe de Graft’, in Lindfors, Bernth and Sander, Reinhard, eds, Twentieth-Century Caribbean and Black African Writers. Detroit and London: Gale Research, 1992, pp. 134–41.Google Scholar
Agovi, Kofi ‘The Origin of Literary Theatre in Colonial Ghana, 1920–1957’, Research Review (Lagon), 6. 1 (1990), pp. 1–23.Google Scholar
Aima, Mohan Lal, ‘Kashmiri Drama’, in Kalla, K. L., ed., The Literary Heritage of Kashmir. Delhi: Mittal Publications, 1985, pp. 115–19.Google Scholar
Akomfrah, John, ‘On the National in African Cinema/s: A Conversation’, in Vitali, Valentina and Willemen, Paul, eds, Theorising National Cinema. London: BFI, 2006, pp. 274–92.Google Scholar
Albó, Xavier, ‘Our Identity Starting from Pluralism Is the Base’, in Beverley, John, Aronna, Michael and Oviedo, José, eds, The Postmodern Debate in Latin America. Durham and London: Duke University Press, 1995, pp. 18–33.CrossRefGoogle Scholar
Allatson, Paul, Key Terms in Latino/a Cultural and Literary Studies. Oxford: Blackwell, 2007.Google Scholar
Allinson, Gary D., Japan’s Postwar History, 2nd ed. Ithaca and New York: Cornell University Press, 2004.Google Scholar
Allman, Jean, and Parker, John, Tongnaab: The History of a West African God. Bloomington: Indiana University Press, 2005.Google Scholar
Amorim, Marcel Álvaro de, ‘Shakespeare no Sertão: Uma Leitura Brasileira de Hamlet, por Ozualdo Candeias’, Cadernos do IL, 53, January (2017), pp. 10–29.CrossRefGoogle Scholar
Amorim, Marcel ‘Shakespeare no Subúrbio: Uma Leitura Brasileira de Hamlet, por Mário Kuperman’, Scripta Uniandrade, 14.2 (2016), pp. 86–122.Google Scholar
And, Metin, A History of Theatre and Popular Entertainment in Turkey. Ankara: Forum Yayinlari, 1963–64.Google Scholar
Andrew, Dudley, ‘An Atlas of World Cinema’, in Dennison, Stephanie and Lim, Song Hwee, eds, Remapping World Cinema: Identity, Culture and Politics in Film. London and New York: Wallflower Press, 2006, pp. 19–29.Google Scholar
Angelo, Vítor, ‘A Herança’, in Puppo, Eugênio, ed., Cinema Marginal Brasileiro e Suas Fronteiras: Filmes Produzidos Nos Anos 60 e 70. São Paulo: Heco Produções, Ltda., 2004, pp. 88–89.Google Scholar
Anyidoho, Kofi, ‘Ghanaian Kente: Cloth and Song’, in Gumpert, Lynn, ed., The Poetics of Cloth: African Textiles/Recent Art. New York: Grey Art Gallery, 2008, pp. 33–47.Google Scholar
Anzai, Tetsuo, ‘A Century of Shakespeare in Japan: A Brief Historical Survey’, Shakespeare Yearbook, 9 (1999), pp. 3–12.Google Scholar
Appadurai, Arjun, Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.Google Scholar
Araújo, Inácio, Carneiro, Gabriel, Klinger, Gabe, Furtado, Felipe, Sternheim, Alfredo and Trunk, Matheus, ‘An Abecedarium of the Boca do Lixo’, in Tamsma, Gerwin, ed., The Mouth of Garbage/Boca do Lixo: Subculture and Sex in São Paulo, 1967–1987. Rotterdam: International Film Festival, 2012, pp. 12–27.Google Scholar
Armes, Roy, African Filmmaking North and South of the Sahara. Edinburgh: Edinburgh University Press, 2006.Google Scholar
Armes, Roy Third World Filmmaking and the West. Berkeley, Los Angeles and London: University of California Press, 1987.Google Scholar
Arslan, Savaş, Cinema in Turkey: A New Critical History. Oxford: Oxford University Press, 2011.Google Scholar
Atakav, Eylem, Women and Turkish Cinema: Gender Politics, Cultural Identity and Representation. London and New York: Routledge, 2013.Google Scholar
Aveh, Africanus, ‘The Rise of the Video Film Industry & Its Projected Social Impact on Ghanaians’, African Literature Today, 28 (2010), pp. 122–32.Google Scholar
Axworthy, Michael, Iran: Empire of the Mind, a History from Zoroaster to the Present Day. Harmondsworth: Penguin, 2008.Google Scholar
Ayers, P. K., ‘Reading, Writing, and Hamlet’, Shakespeare Quarterly, 44.4 (1993), pp. 423–39.CrossRefGoogle Scholar
Bailey, Helen Phelps, Hamlet in France: From Voltaire to Laforgue. Geneva: Librairie Droz, 1964.Google Scholar
Bakari, Imruh, ‘Introduction: African Cinema and the Emergent Africa’, in Givanni, June, ed., Symbolic Narratives/African Cinema: Audiences, Theory, and the Moving Image. London: BFI, 2000, pp. 3–24.Google Scholar
Banham, Martin, and Jones, Eldred Durosimi, ‘“ … tinap aber we leck giant”: African Celebrations of Shakespeare’, in Chew, Shirley and Stead, Alistair, eds, Translating Life: Studies in Transpositional Aesthetics. Liverpool: Liverpool University Press, 1999, pp. 121–36.Google Scholar
Banham, Martin, Mooneram, Roshni and Plastow, Jane, ‘Shakespeare and Africa’, in Wells, Stanley and Stanton, Sarah, eds, The Cambridge Companion to Shakespeare on Stage. Cambridge: Cambridge University Press, 2002, pp. 284–99.Google Scholar
Bartoshevich, Aleksey, Gamlety nashih dnej. Shekspirovskie chtenija. Moscow: Izdaltel’stvo Moskcovskogo gumanitararnogo universiteta, 2010.Google Scholar
Barua, Bhaben, ‘Shakespeare, Indian Renaissance in Bengal, and Assamese Literature’, in Shankar, D. A., ed., Shakespeare in Indian Languages. Shimla: Institute of Advanced Study, 1999, pp. 85–111.Google Scholar
Bassi, Shaul, ‘The Tragedies in Italy’, in Neill, Michael and Schalkwyk, David, eds, The Oxford Handbook of Shakespearean Tragedy. Oxford: Oxford University Press, 2016, pp. 691–705.Google Scholar
Bayman, Louis, ‘Neorealism’, in Bayman, Louis, ed., Directory of World Cinema: Italy. Bristol and Chicago: Intellect, 2011, pp. 54–57.Google Scholar
Beauregard, David, ‘“Great command o’ersways the order”: Purgatory, Revenge, and Maimed Rites in Hamlet’, Religion and the Arts, 11 (2007), pp. 45–73.Google Scholar
Behera, Navnita Chadha, Demystifying Kashmir. Washington, D.C.: Brookings Institution Press, 2006.Google Scholar
Ben-Ghiat, Ruth, ‘Unmaking the Fascist Man: Masculinity, Film and the Transition from Dictatorship’, Journal of Modern Italian Studies, 10.3 (2005), pp. 336–65.Google Scholar
Bennett, Susan, and Carson, Christie, eds, Shakespeare Beyond English: A Global Experiment. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar
Bentes, Ivana, ‘Deus E O Diablo Na Terra Do Sol/Black God, White Devil’, in Elena, Alberto and López, Marina Díaz, eds, The Cinema of Latin America. London and New York: Wallflower, 2003, pp. 89–97.Google Scholar
Bentes, Ivana ‘The Sertão and the Favela in Contemporary Brazilian Film’, in Viera, João Luiz, ed., Cinema Novo and Beyond. West Haven, Conn.: Herlin Press, 1998, pp. 113–22.Google Scholar
Berensmeyer, Ingo, ‘Cultural Ecology and Chinese Hamlets’, New Literary History, 42.3 (2011), pp. 419–38.Google Scholar
Berry, Michael, ‘Chinese Cinema with Hollywood Characteristics, or How The Karate Kid became a Chinese Film’, in Rojas, Carlos and Chow, Eileen Cheng-Yin, eds, The Oxford Handbook of Chinese Cinemas. Oxford: Oxford University Press, 2013, pp. 170–89.Google Scholar
Bethe, Monica, ‘Interlude: Noh and Kyogen Costumes and Masks’, in Salz, Jonah, ed., A History of Japanese Theatre. Cambridge: Cambridge University Press, 2016, pp. 62–67.Google Scholar
Betz, Mark, Beyond the Subtitle: Remapping European Art Cinema. Minneapolis and London: University of Minnesota Press, 2009.Google Scholar
Beumers, Birgit, and Lipovetsky, Mark, Performing Violence: Literary and Theatrical Experiments of New Russian Drama. Bristol and Chicago: Intellect, 2009.Google Scholar
Bevington, David, ‘Murder Most Foul’: ‘Hamlet’ Through the Ages. Oxford: Oxford University Press, 2011.Google Scholar
Bhardwaj, Vishal, with Basharat Peer, ‘Haider’: The Original Screenplay. New Delhi: HarperCollins, 2014.Google Scholar
Bilgin, Inci, ‘Hamlet in Contemporary Turkey: Towards Postcolonial Feminist Rewrites?’, Multicultural Shakespeare, 12.27 (2015), pp. 65–74.Google Scholar
Birrell, Anne, ed., New Songs from a Jade Terrace: An Anthology of Early Chinese Love Poetry. London, Boston and Sydney: George Allen and Unwin, 1982.Google Scholar
Black, J. Larry, Vladimir Putin and the New World Order: Looking East, Looking West?. Lanham and New York: Rowman and Littlefield, 2004.Google Scholar
Blier, Suzanne Preston, and James, Morris, Butabu: Adobe Architecture of West Africa. New York: Princeton Architectural Press, 2004.Google Scholar
Boldt, Thea D., ‘European Identities Made in Germany’, in Ichijo, Atsuko, ed., Europe, Nations and Modernity. Basingstoke: Palgrave, 2011, pp. 60–84.Google Scholar
Bolin, Michael, Kraus, Erika and Read, Felicie, Benin, 2nd ed. Milton Keynes: Other Places, 2014.Google Scholar
Bondanella, Peter, ‘From Italian Neorealism to the Golden Age of Cinecittà’, in Ezra, Elizabeth, ed., European Cinema. Oxford: Oxford University Press, 2004, pp. 119–38.Google Scholar
Bonsaver, Guido, ‘Mussolini’s Fascism, Literary Censorship, and the Vatican’, Primerjalna Književnost, 31 (2008), pp. 201–12.Google Scholar
Boone, Jon, and Safi, Michael, ‘India Strikes Back at Pakistan with Deadly Night Raids as Kashmir Dispute Escalates’, The Guardian, 30 September (2016), p. 19.Google Scholar
Borenstein, Eliot, Overkill: Sex and Violence in Contemporary Russian Culture. Ithaca and London: Cornell University Press, 2008.Google Scholar
Bould, Mark, Film Noir: From Berlin to Sin City. London and New York: Wallflower, 2005.Google Scholar
Bradshaw, Graham, and Ashizu, Kaori, ‘Reading Hamlet in Japan’, in Bate, Jonathan, Levenson, Jill L. and Mehl, Dieter, eds, Shakespeare and the Twentieth Century. Newark: University of Delaware Press, 1998, pp. 350–63.Google Scholar
‘British Films: Hamile/Hamlet (Ghana)’, Variety: Film Reviews 1907–1980, 16 vols. New York and London: Garland, 1983, XI, n.p.Google Scholar
Brizio-Skov, Flavia, ‘Spaghetti Westerns and Their Audiences’, in Bondanella, Peter, ed., The Italian Cinema Book. London: BFI, 2014, pp. 181–87.Google Scholar
Brown, Rebecca, and Oder, Judy, ‘The Protection of Women’s Economic, Social and Cultural Rights in Africa’, in Chirwa, Danwood Mzikenge and Chenwi, Lilian, eds, The Protection of Economic, Social and Cultural Rights in Africa: International, Regional and National Perspectives. Cambridge: Cambridge University Press, 2016, pp. 121–54.Google Scholar
Buchanan, Judith, Shakespeare on Silent Film: An Excellent Dumb Discourse. Cambridge: Cambridge University Press, 2009.Google Scholar
Buchanan, Tom, Europe’s Troubled Peace: 1945 to the Present, 2nd ed. Oxford: Wiley-Blackwell, 2012.Google Scholar
Buckland, Raymond, Gypsy Dream Dictionary, 2nd ed. St Paul: Llewellyn Publications, 1998.Google Scholar
Buckley, Thea, ‘Hero as Avatar: Karmayogi, Kerala’s Kalarippayattu Hamlet’, The Shakespeare Institute Review, 2, Spring (2013), pp. 41–46.Google Scholar
Burgen, Stephen, ‘Court Remands Catalan Leader’, The Guardian, 27 March (2018), p. 19.Google Scholar
Burke, Patrick, ‘“Hidden Games, Cunning Traps, Ambushes”: The Russian Hamlet’, Shakespeare Yearbook, 8 (1997), pp. 163–80.Google Scholar
Burnett, Mark Thornton, ‘Global Shakespeare and the Censor: Adaptation, Context, and Shakespeare Must Die, a Thai Film Adaptation of Macbeth’, Shakespeare Survey, 71 (2018), pp. 276–94.Google Scholar
Burnett, Mark Thornton Shakespeare and World Cinema. Cambridge: Cambridge University Press, 2013.Google Scholar
Burnett, Mark Thornton, Lehmann, Courtney, Rippy, Marguerite H. and Ramona, Wray, Great Shakespeareans: Welles, Kurosawa, Kozintsev, Zeffirelli. London and New York: Bloomsbury, 2013.Google Scholar
Burt, Richard, Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture. Basingstoke: Macmillan, 1998.Google Scholar
Burton, Julianne, ‘Toward a History of Social Documentary in Latin America’, in Burton, Julianne, ed., The Social Documentary in Latin America. Pittsburgh: University of Pittsburgh Press, 1990, pp. 3–30.Google Scholar
Bushkovitch, Paul, A Concise History of Russia. Cambridge: Cambridge University Press, 2012.Google Scholar
Calbi, Maurizio, Spectral Shakespeares: Media Adaptations in the Twenty-First Century. New York: Palgrave, 2013.Google Scholar
Camí-Vela, María, ‘Contemporary Barcelona Through the Female Eye’, in Miguel, Helio San and Torres Hortelano, Lorenzo J., eds, World Film Locations: Barcelona. Bristol and Chicago: Intellect, 2013, pp. 106–7.Google Scholar
Cardullo, Bert, ed., Akira Kurosawa: Interviews. Jackson: University Press of Mississippi, 2008.Google Scholar
Carlson, Marvin, Performance: A Critical Introduction. London and New York: Routledge, 1996.Google Scholar
Castro-Gómez, Santiago, ‘(Post)Coloniality for Dummies: Latin American Perspectives on Modernity, Coloniality, and the Geopolitics of Knowledge’, in Moraña, Mabel, Dussel, Enrique and Jáuregui, Carlos A., eds, Coloniality at Large: Latin America and the Postcolonial Debate. Durham and London: Duke University Press, 2008, pp. 259–85.Google Scholar
Cetera, Anna, ‘Translating Shakespeare for Performance’, in Smith, Bruce R., ed., The Cambridge Guide to the Worlds of Shakespeare, 2 vols. Cambridge: Cambridge University Press, 2016, II, pp. 1375–80.Google Scholar
Chakravarti, Paromita, ‘Theatre Reviews: Haider’, Shakespeare Bulletin, 34.1 (2016), pp. 129–32.Google Scholar
Chakravarti, Paromita ‘Urban Histories and Vernacular Shakespeare in Bengal: Kolkatar Hamlet, Hemlet and Hamlet 2011’, in Panja, Shormishtha and Saraf, Babli Moitra, eds, Performing Shakespeare in India: Exploring Indianness, Literatures and Cultures. London and New Delhi: Sage, 2016, pp. 41–59.Google Scholar
Chanan, Michael, ‘Latin American Cinema: From Underdevelopment to Postmodernism’, in Dennison, Stephanie and Lim, Song Hwee, eds, Remapping World Cinema: Identity, Culture and Politics in Film. London: Wallflower, 2006, pp. 38–51.Google Scholar
Chandavarkar, Rajnarayam, History, Culture and the Indian City. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar
Chandran, T. V., Ritual as Ideology: Text and Context in Teyyam. New Delhi: Indira Gandhi National Centre for the Arts, 2006.Google Scholar
Charnes, Linda, Hamlet’s Heirs: Shakespeare and the Politics of a New Millennium. New York and London: Routledge, 2006.CrossRefGoogle Scholar
Chasteen, John Charles, ‘Black Kings, Blackface Carnival, and Nineteenth-Century Origins of the Tango’, in Beezley, William H. and Curcio-Nagy, Linda A., eds, Latin American Popular Culture: An Introduction. Lanham: Scholarly Resources, 2004, pp. 43–60.Google Scholar
Chasteen, John Charles Born in Blood and Fire: A Concise History of Latin America, 2nd ed. New York: W. W. Norton, 2006.Google Scholar
Chasteen, John Charles National Rhythms, African Roots: The Deep History of Latin American Popular Dance. Albuquerque: University of New Mexico Press, 2004.Google Scholar
Chaudhuri, Shohini, Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh: Edinburgh University Press, 2005.Google Scholar
Chaudhuri, Supriya, ‘Remembering Shakespeare in India: Colonial and Postcolonial Memory’, in Calvo, Clara and Kahn, Coppélia, eds, Celebrating Shakespeare: Commemoration and Cultural Memory. Cambridge: Cambridge University Press, 2015, pp. 101–20.Google Scholar
Choudhury, Kushanava, The Epic City: The World on the Streets of Calcutta. London and New York: Bloomsbury, 2017.Google Scholar
Chen, Ya-Chen, Women in Chinese Martial Arts Films of the New Millennium: Narrative Analyses and Gender Politics. Lanham and Boulder: Lexington Books, 2012.Google Scholar
Chibnall, Steve, and Macfarlane, Brian, The British ‘B’ Film. Basingstoke: Palgrave, 2009.Google Scholar
Ciecko, Anne, ‘Contemporary Meta-Chinese Film Stardom and Transnational Transmedia Celebrity’, in Lim, Song Hwee and Ward, Julian, eds, The Chinese Cinema Book. London: BFI, 2011, pp. 185–93.Google Scholar
Cinpoeş, Nicoleta, ‘Hamlet or the Skeletons in the Cupboard’, in Gregor, Keith, ed., Shakespeare and Tyranny: Regimes of Reading in Europe and Beyond. Newcastle-upon-Tyne: Cambridge Scholars, 2014, pp. 223–40.Google Scholar
Clements, Jonathan, Wu: The Chinese Empress who Schemed, Seduced, and Murdered her Way to Become a Living God. Thrupp: Sutton Publishing, 2007.Google Scholar
Clogg, Richard, A Concise History of Greece, 3rd ed. Cambridge: Cambridge University Press, 2013.Google Scholar
Collick, John, Shakespeare, Cinema and Society. Manchester and New York: Manchester University Press, 1989.Google Scholar
Compan, Magali, ‘Island Geography as Creole Biography: Shenaz Patel’s Mauritian Literary Production’, in Ekoto, Freida and Harrow, Kenneth, eds, Rethinking African Cultural Production. Bloomington and Indianapolis: Indiana University Press, 2015, pp. 177–96.Google Scholar
Condee, Nancy, The Imperial Trace: Recent Russian Cinema. Oxford: Oxford University Press, 2009.Google Scholar
Cook, Patrick J., Cinematic ‘Hamlet’: The Films of Olivier, Zeffirelli, Branagh, and Almereyda. Athens: Ohio University Press, 2011.Google Scholar
Corbridge, Stuart, Harris, John and Jeffrey, Craig, India Today: Economy, Politics and Society. Cambridge and Malden: Polity, 2013.Google Scholar
Courtney, Krystyna Kujawińska, and Katarzyna Kwapisz Williams, ‘Central Eastern Europe’, in Marx, Peter W., ed., Hamlet-Handbuch: Stoffe, Aneignungen, Deutungen. Stuttgart and Weimar: Verlag J. B. Meltzler, 2014, pp. 304–12.Google Scholar
Croteau, Melissa M., ‘Aki Kaurismäki’s Hamlet Goes Business: A Socialist Shakespearean Film Noir Comedy’, in Fotheringham, Richard, Jansohn, Christa and White, R. S., eds, Shakespeare’s World/World Shakespeares. Newark: University of Delaware Press, 2008, pp. 193–208.Google Scholar
Crowl, Samuel, Screen Adaptations: Shakespeare’s ‘Hamlet’. London and New York: Bloomsbury, 2014.Google Scholar
Curtin, Michael, Playing to the World’s Biggest Audience: The Globalization of Chinese Film and TV. Berkeley, Los Angeles and London: University of California Press, 2007.CrossRefGoogle Scholar
Cutler, Aaron, ‘Marginal Revolutionary’, Sight & Sound, 24.10, October (2014), pp. 50–51.Google Scholar
Cutrofello, Andrew, All for Nothing: Hamlet’s Negativity. Cambridge, Mass.: MIT Press, 2014.Google Scholar
Daas, Manishita, ‘The Cloud-Capped Star: Ritwik Ghatak on the Horizon of Global Art Cinema’, in Galt, Rosalind and Schoonover, Karl, eds, Global Art Cinema: New Theories and Histories. Oxford: Oxford University Press, 2010, pp. 238–51.Google Scholar
DaMatta, Roberto, Carnivals, Rogues, and Heroes: An Interpretation of the Brazilian Dilemma, tr. John Drury. Notre Dame and London: University of Notre Dame Press, 1991.Google Scholar
Daniélou, Alain, The Myths and Gods of India: The Classic Work on Hindu Polytheism. Rochester: Inner Traditions, 1991.Google Scholar
Dardanelli, Paolo, Restructuring the European State: European Integration and State Reform. Montreal and Kingston: McGill-Queen’s University Press, 2017.Google Scholar
David, Ann R., ‘King of Bollywood? The Construction of a Global Image in Shah Rukh Khan’s Dance Choreography’, in Dudrah, Rajinder, Mader, Elke and Fuchs, Bernhard, eds, SRK and Global Bollywood. Oxford and New Delhi: Oxford University Press, 2015, pp. 279–307.Google Scholar
Dawson, Anthony B., Shakespeare in Performance: ‘Hamlet’. Manchester: Manchester University Press, 1995.Google Scholar
De, Esha Niyogi, ‘Modern Shakespeares in Popular Bombay Cinema: Translation, Subjection and Community’, Screen, 43.1 (2002), pp. 19–40.Google Scholar
de Graft, Joe, ‘Interview’, in Lindfors, Bernth, ed., Africa Talks Back: Interviews with Anglophone African Writers. Trenton and Asmara: Africa World Press, 2002, pp. 69–88.Google Scholar
de Grazia, Margreta, ‘Hamlet’ Without Hamlet. Cambridge: Cambridge University Press, 2007.Google Scholar
Deleuze, Gilles, The Deleuze Reader, ed. Boundas, Constantin V.. New York: Columbia University Press, 1993.Google Scholar
della Coletta, Cristina, When Stories Travel: Cross-Cultural Encounters Between Fiction and Film. Baltimore and London: Johns Hopkins University Press, 2012.Google Scholar
Dennison, Stephanie, ‘The New Brazilian Bombshell: Sȏnia Braga, Race and Cinema in the 1970s’, in Dennison, Stephanie and Lim, Song Hwee, eds, Remapping World Cinema: Identity, Culture and Politics in Film. London: Wallflower, 2006, pp. 135–43.Google Scholar
Deshpande, Shekhar, and Mazaj, Meta, World Cinema: A Critical Introduction. London and New York: Routledge, 2018.Google Scholar
Desjardins, Chris, Outlaw Masters of Japanese Film. London and New York: I. B. Taurus, 2005.Google Scholar
Desser, David, Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema. Bloomington and Indianapolis: Indiana University Press, 1988.Google Scholar
Desser, David ‘Toward a Structural Analysis of the Postwar Samurai Film’, in Nolletti, Arthur and Desser, David, eds, Reframing Japanese Cinema: Authorship, Genre, History. Bloomington and Indianapolis: Indiana University Press, 1992, pp. 145–64.Google Scholar
Devictor, Agnès, ‘Classic Tools, Original Goals: Cinema and Public Policy in the Islamic Republic of Iran’, in Tapper, Richard, ed., New Iranian Cinema: Politics, Representation and Identity. London and New York: I. B. Taurus, 2002, pp. 66–76.Google Scholar
Devji, Faisal Fatehali, ‘Subject to Translation: Shakespeare, Swahili, Socialism’, Postcolonial Studies, 3.2 (2000), pp. 181–89.Google Scholar
Diawara, Manthia, African Cinema: Politics and Culture. Bloomington and Indianapolis: Indiana University Press, 1992.Google Scholar
Dickson, Andrew, Worlds Elsewhere: Journeys around Shakespeare’s Globe. London: Bodley Head, 2015.Google Scholar
Dionne, Craig, and Kapadia, Parmita, ‘Shakespeare and Bollywood: The Difference a World Makes’, in Dionne, Craig and Kapadia, Parmita, eds, Bollywood Shakespeares. New York and Basingstoke: Palgrave, 2014, pp. 1–18.Google Scholar
D’Lugo, Marvin, ‘Catalan Cinema: Historical Experience and Cinematic Practice’, in Fowler, Catherine, ed., The European Cinema Reader. London and New York: Routledge, 2002, pp. 163–73.Google Scholar
‘Dogme 95 – The Vow of Chastity’, in Fowler, Catherine, ed., The European Cinema Reader. London and New York: Routledge, 2002, pp. 83–84.Google Scholar
Domenico, Roy Palmer, Remaking Italy in the Twentieth Century. Lanham and Boulder: Rowman and Littlefield, 2002.Google Scholar
Dönmez-Colin, Gönül, The Routledge Dictionary of Turkish Cinema. London and New York: Routledge, 2014.Google Scholar
Dönmez-Colin, Gönül Turkish Cinema: Identity, Distance and Belonging. London: Reaktion, 2008.Google Scholar
Dorsay, Atilla, ‘An Overview of Turkish Cinema from Its Origins to the Present Day’, in Renda, Günsel and Max Kortepeter, C., eds, The Transformation of Turkish Culture: The Atatürk Legacy. Princeton: Kingston Press, 1986, pp. 113–29.Google Scholar
Douglas, Michael, ‘Jidai-geki/Period Drama’, in Berra, John, ed., Directory of World Cinema: Japan 2. Bristol and Chicago: Intellect, 2012, pp. 225–27.Google Scholar
Drouet, Pascale, and Nathalie, Rivère de Carles, ‘French Receptions of Shakespearean Tragedy: Between Liberty and Memory’, in Neill, Michael and Schalkwyk, David, eds, The Oxford Handbook of Shakespearean Tragedy. Oxford: Oxford University Press, 2016, pp. 726–45.Google Scholar
Dwyer, Rachel, and Patel, Divia, Cinema India: The Visual Culture of Hindi Film. London: Reaktion, 2002.Google Scholar
Edmond, Rod, Leprosy and Empire: A Medical and Cultural History. Cambridge: Cambridge University Press, 2006.Google Scholar
Edmondson, Paul, Prescott, Paul and Sullivan, Erin, eds, A Year of Shakespeare: Re-living the World Shakespeare Festival. London and New York: Bloomsbury, 2013.Google Scholar
Eleftheriotis, Dimitris, ‘Turkish National Cinema’, in Eleftheriotis, Dimitris and Needham, Gary, eds, Asian Cinemas: A Reader and Guide. Edinburgh: Edinburgh University Press, 2006, pp. 220–28.Google Scholar
Elsaesser, Thomas, German Cinema – Terror and Trauma: Cultural Memory Since 1945. London and New York: Routledge, 2014.Google Scholar
Emmerichs, Sharon, ‘Shakespeare and the Landscape of Death: Crossing the Boundaries of Life and the Afterlife’, Shakespeare, 8.2 (2012), pp. 171–94.Google Scholar
Erfani, Farhany, Iranian Cinema and Philosophy: Shooting Truth. New York: Palgrave, 2012.Google Scholar
Esfandiary, Shahab, Iranian Cinema and Globalization: National, Transnational and Islamic Dimensions. Bristol and Chicago: Intellect, 2012.Google Scholar
Eskola, Marjo, Räisä, Tiina and Stenius, Henrik, ‘Identity Construction and Modernity in Finland: Borders, Ruptures and Significant Others’, in Ichijo, Atsuko, ed., Europe, Nations and Modernity. Basingstoke: Palgrave, 2011, pp. 183–207.Google Scholar
Espiritu, Talitha, ‘Multiculturalism, Dictatorship, and Cinema Vanguards: Philippine and Brazilian Analogies’, in Shohat, Ella and Stam, Robert, eds, Multiculturalism, Postcoloniality, and Transnational Media. New Brunswick: Rutgers University Press, 2003, pp. 279–98.Google Scholar
Etkind, Alexander, ‘Mourning the Soviet Victims in a Cosmopolitan Way: Hamlet from Kozintsev to Riazanov’, Studies in Russian and Soviet Cinema, 5.3 (2011), pp. 389–409.Google Scholar
Faiz, Ahmed Faiz, The Rebel’s Silhouette: Selected Poems, tr. Agha Shahid Ali. Amherst: University of Massachusetts Press, 1995.Google Scholar
Fanon, Frantz, Black Skin, White Masks, tr. Charles Lam Markmann. London: Pluto Press, 1986.Google Scholar
Farhi, Farideh, ‘The Tenth Presidential Elections and Their Aftermath’, in Nabavi, Negin, ed., Iran: From Theocracy to the Green Movement. New York: Palgrave, 2012, pp. 3–15.Google Scholar
Fayard, Nicole, ‘France’, in Marx, Peter W., ed., Hamlet-Handbuch: Stoffe, Aneignungen, Deutungen. Stuttgart and Weimar: Verlag J. B. Meltzler, 2014, pp. 284–88.Google Scholar
Ferdowsi, Abolqasem, Shahnameh: The Persian Book of Kings, tr. Dick Davis. London and New York: Penguin Books, 2006.Google Scholar
Ferguson, Alisa Grant, Shakespeare, Cinema, Counter-Culture: Appropriation and Inversion. London and New York: Routledge, 2016.Google Scholar
Filčák, Richard, Living Beyond the Pale: Environmental Justice and the Roma Minority. Budapest and New York: Central European Press, 2012.Google Scholar
Findley, Carter Vaughn, Turkey, Islam, Nationalism, and Modernity: A History, 1789–2007. New Haven: Yale University Press, 2010.Google Scholar
Fischlin, Daniel, ‘Outerspeares: Shakespeare, Intermedia, and the Limits of Adaptation’, in Fischlin, Daniel, ed., OuterSpeares: Shakespeare, Intermedia, and the Limits of Adaptation. Toronto, Buffalo and London: University of Toronto Press, 2014, pp. 3–50.Google Scholar
Floor, Willem, The History of Theatre in Iran. Washington, D.C.: Mage Publishers, 2005.Google Scholar
Freud, Sigmund, The Interpretation of Dreams, tr. A. A. Brill. Ware: Wordsworth, 1997.Google Scholar
Fritsch, Herbert, and Zwach, Sabrina, Hamlet_X: Interpolierte Fressen. Berlin: Theater der Zeit, 2006.Google Scholar
Frye, Roland Mushat, The Renaissance Hamlet: Issues and Responses in 1600. Princeton: Princeton University Press, 1984.Google Scholar
Fryer, Peter, Rhythms of Resistance: African Musical Heritage in Brazil. London: Pluto Press, 2000.Google Scholar
Gabriel, Theodore, Playing God: Belief and Ritual in the Muttappan Cult of North Malabar. London and Oakville: Equinox, 2010.Google Scholar
Galloway, Patrick, Warring Clans, Fighting Blades: A Samurai Film Companion. Berkeley: Stone Bridge, 2009.Google Scholar
Gandhi, Mahatma, The Writings of Gandhi, ed. Duncan, Ronald. London: Fontana/Collins, 1983.Google Scholar
Garber, Marjorie, Dream in Shakespeare: From Metaphor to Metamorphosis. New Haven and London: Yale University Press, 2013.Google Scholar
Garritano, Carmela, African Video Movies and Global Desires: A Ghanaian History. Athens: Ohio University Press, 2013.Google Scholar
Paloma, Gay y Blasco, ‘Picturing “Gypsies”: Interdisciplinary Approaches to Roma Representation’, Third Text, 22.3 (2008), pp. 297–303.Google Scholar
Gibbs, James, ‘Joe de Graft: Theatrical Prophet with Strange Honours’, in Banham, Martin, Gibbs, James and Osofian, Femi, eds, Playwrights and Politics. Oxford: James Currey, 2001, pp. 72–83.Google Scholar
Gibbs, James, and Matzke, Christine, ‘“accents yet unknown”: Examples of Shakespeare from Ghana, Malawi and Eritrea’, in Schaffeld, Norbert, ed., Shakespeare’s Legacy: The Appropriation of the Plays in Post-Colonial Drama. Trier: WVT, 2005, pp. 15–36.Google Scholar
Gillies, John, Ryuta, Minami, Ruru, Li and Trivedi, Poonam, ‘Shakespeare on the Stages of Asia’, in Wells, Stanley and Stanton, Sarah, eds, The Cambridge Companion to Shakespeare on Stage. Cambridge: Cambridge University Press, 2002, pp. 259–81.Google Scholar
Givens, John, ‘Shakespearean Tragedy in Russia: In Equal Scale Weighing Delight and Dole’, in Neill, Michael and Schalkwyk, David, eds, The Oxford Handbook of Shakespearean Tragedy. Oxford: Oxford University Press, 2016, pp. 761–76.Google Scholar
Goodman, David G., ‘Japan’, in Brandon, James R., ed., The Cambridge Guide to Asian Theatre. Cambridge: Cambridge University Press, 1993, pp. 142–79.Google Scholar
Gooptu, Sharmistha, Bengali Cinema: ‘An Other Nation’. New York and London: Routledge, 2011.Google Scholar
Gopal, Sangita, and Sen, Biswarup, ‘Inside and Out: Song and Dance in Bollywood Cinema’, in Dudrah, Rajinder and Desai, Jigna, eds, The Bollywood Reader. Maidenhead and New York: Open University Press/McGraw-Hill, 2008, pp. 147–57.Google Scholar
Gordon, Colette, ‘“Mind the Gap”: Globalism, Postcolonialism and Making up Africa in the Cultural Olympiad’, in Prescott, Paul and Sullivan, Erin, eds, Shakespeare on the Global Stage: Performance and Festivity in the Olympic Year. London and New York: Bloomsbury, 2015, pp. 191–225.Google Scholar
Gow, Christopher, From Iran to Hollywood and Some Places In-Between: Reframing Post- Revolutionary Iranian Cinema. London and New York: I. B. Taurus, 2011.Google Scholar
Gozzano, Guido, The Man I Pretend to Be, tr. Michael Palma. Princeton: Princeton University Press, 1981.Google Scholar
Grabar, Oleg, The Formation of Islamic Art, 2nd ed. New Haven and London: Yale University Press, 1987.Google Scholar
Grammaticus, Saxo, The History of the Danes, ed. Davidson, Hilda Ellis, 2 vols. Cambridge: D. S. Brewer, 1979.Google Scholar
Greenblatt, Stephen, Hamlet in Purgatory. Princeton and Oxford: Princeton University Press, 2001.Google Scholar
Gregor, Keith, Shakespeare in the Spanish Theatre: 1772 to the Present. London and New York: Continuum, 2010.Google Scholar
Griggs, Yvonne, ‘Dogmatic Shakespeare: A “Recognition of Ghostly Presences” in Thomas Vinterberg’s Festen and Kristian Levring’s The King Is Alive’, Journal of Adaptation in Film and Performance, 2.2 (2009), pp. 109–19.Google Scholar
Gugler, Joseph, African Film: Re-Imagining a Continent. Bloomington and Indianapolis: Indiana University Press, 2003.Google Scholar
Guneratne, Anthony, Shakespeare, Film Studies, and the Visual Cultures of Modernity. New York: Palgrave, 2008.Google Scholar
Gupt, Somnath, The Parsi Theatre: Its Origins and Development, tr. Kathryn Hansen. Calcutta and New Delhi: Seagull Books, 2005.Google Scholar
Gürata, Ahmet, ‘Translating Modernity: Remakes in Turkish Cinema’, in Eleftheriotis, Dimitris and Needham, Gary, eds, Asian Cinemas: A Reader and Guide. Edinburgh: Edinburgh University Press, 2006, pp. 242–54.Google Scholar
Guy, Will, ‘The Czech Lands and Slovakia: Another False Dawn?’, in Guy, Will, ed., Between Past and Future: The Roma of Central and Eastern Europe. Hatfield: University of Hertfordshire Press, 2001, pp. 285–323.Google Scholar
Hahner-Herzog, Iris, Kecskési, Maria and Vagda, Lászlo, African Masks from the Barbier-Mueller Collection, Geneva. Munich, London and New York: Prestel, 2004.Google Scholar
Hanchard, Michael, ‘Black Cinderella? Race and the Public Sphere in Brazil’, in Hanchard, Michael, ed., Racial Politics in Contemporary Brazil. Durham and London: Duke University Press, 1999, pp. 59–81.Google Scholar
Hanioğlu, M. Şükrü, Atatürk: An Intellectual Biography. Princeton and Oxford: Princeton University Press, 2011.Google Scholar
Hashmi, Ali Madeeh, Love and Revolution: Faiz Ahmed Faiz, the Authorized Biography. New Delhi: Rupa, 2016.Google Scholar
Hashmi, Ali Madeeh The Way It Once Was: Faiz Ahmed Faiz – His Life, His Poems. New Delhi: HarperCollins, 2012.Google Scholar
Hatchuel, Sarah, ‘Plays-within-the-Film’, in Smith, Bruce R., ed., The Cambridge Guide to the Worlds of Shakespeare, 2 vols. Cambridge: Cambridge University Press, 2016, II, pp. 1946–53.Google Scholar
Hatchuel, Sarah, and Vienne-Guerrin, Nathalie, eds, Shakespeare on Screen: ‘Hamlet’. Mont-Saint-Aignan: Publications de l’Université de Rouen et du Havre, 2011.Google Scholar
Heldt, Gustav, ed., The Kojiki: An Account of Ancient Matters. New York: Columbia University Press, 2014.Google Scholar
Höfele, Andreas, No Hamlets: German Shakespeare from Nietzsche to Carl Schmitt. Oxford: Oxford University Press, 2016.Google Scholar
Hogan, Patrick Colm, Imagining Kashmir: Emplotment and Colonialism. Lincoln and London: University of Nebraska Press, 2016.Google Scholar
Hortmann, Wilhelm, Shakespeare on the German Stage: The Twentieth Century. Cambridge: Cambridge University Press, 1988.Google Scholar
Howard, Tony, Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. Cambridge: Cambridge University Press, 2007.Google Scholar
Hsieh, , ‘Camilla Chun-Pai, Using Sinicised Adaptations for Pedagogy in Taiwan: The Banquet and Bond’, in Flaherty, Kate, Gay, Penny and Semler, L. E., eds, Teaching Shakespeare Beyond the Centre: Australasian Perspectives. Basingstoke: Palgrave, 2013, pp. 193–210.Google Scholar
Hutcheon, Linda, A Theory of Parody: The Teachings of Twentieth-Century Art Forms. Urbana and Chicago: University of Illinois Press, 2000.Google Scholar
Ichijo, Atsuko, ‘Introduction: Europe as Modernity’, in Ichijo, Atsuko, ed., Europe, Nations and Modernity. Basingstoke: Palgrave, 2011, pp. 1–10.Google Scholar
Iezzi, Julie A., ‘Kabuki: Superheroes and Femmes Fatales’, in Salz, Jonah, ed., A History of Japanese Theatre. Cambridge: Cambridge University Press, 2016, pp. 102–40.Google Scholar
Invitation to Premiere: ‘O Jogo da Vida e da Morte/A Game of Life and Death’, Accesso D996 (Miscellaneous), Cinemateca Brasileira, São Paulo.Google Scholar
Iványi-Bitter, Brigitta, Kovásznai, a Cold War Artist: Animation, Painting, Freedom, tr. Andrea Ágnes Szekeres. Budapest: Kovásznai Research Centre Foundation, 2016.Google Scholar
Jacoby, Alexander, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day. Berkeley: Stone Bridge, 2008.Google Scholar
Jahed, Parviz, ‘Introduction’, in Jahed, Parviz, ed., Directory of World Cinema: Iran. Bristol and Chicago: Intellect, 2012, pp. 6–9.Google Scholar
Jameson, Fredric, ‘Afterword: Adaptation as a Philosophical Problem’, in MacCabe, Colin, Murray, Kathleen and Warner, Rick, eds, True to the Spirit: Film Adaptation and the Question of Fidelity. Oxford: Oxford University Press, 2011, pp. 215–33.Google Scholar
Jameson, Fredric The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington and Indianapolis: Indiana University Press, 1992.Google Scholar
Jameson, Fredric Postmodernism, or, The Cultural Logic of Late Capitalism. London: Verso, 1991.Google Scholar
Jatoo, Sushma, and Lall, Sudhir, ‘Introduction’, in Jatoo, Sushma and Lall, Sudhir, eds, Bhand Pather: The Folk Theatre of Kashmir. Delhi: B. R. Publishing, 2016, pp. 1–6.Google Scholar
Johnson, Randal, and Stam, Robert, eds, Brazilian Cinema, 2nd ed. New York: Columbia University Press, 1995.Google Scholar
Jørgensen, Anne Mette, ‘Sankofa and Modern Authenticity in Ghanaian Film and Television’, in Palmberg, Mai and Baaz, Maria Eriksson, eds, Same and Other: Negotiating African Identity in Cultural Production. Stockholm: Nordiska Afrikainstitutet, 2001, pp. 119–41.Google Scholar
Josipovici, Gabriel, Hamlet: Fold on Fold. New Haven and London: Yale University Press, 2016.Google Scholar
Joubin, Alexa Alice, Chinese Shakespeares: Two Centuries of Cultural Exchange. New York: Columbia University Press, 2009.Google Scholar
Joubin, Alexa Alice ‘The Paradox of Female Agency: Ophelia and East Asian Sensibilities’, in Peterson, Kaara L. and Williams, Deanne, eds, The Afterlife of Ophelia. New York: Palgrave, 2012, pp. 79–100.Google Scholar
Jurkowski, Henryk, ‘African Puppets and Masks: Links in a Historical Chain’, in Rubin, Don, Diakhaté, Ousmane and Eyoh, Hansel Ndumbe, eds, The World Encyclopedia of Contemporary Theatre: Africa. London and New York: Routledge, 1997, pp. 38–40.Google Scholar
Kääpä, Pietari, The National and Beyond: The Globalization of Finnish Cinema in the Films of Aki and Mika Kaurismäki. Oxford and Bern: Peter Lang, 2010.Google Scholar
Kabir, Ananya Jahanara, Territory of Desire: Representing the Valley of Kashmir. Minneapolis and London: University of Minnesota Press, 2009.Google Scholar
Kadono, Izumi, ‘The Kabuki Version of Hamlet: Hamlet Yamato No Nishikie’, Shakespeare Yearbook, 9 (1999), pp. 105–21.Google Scholar
Kagaya, Shinko, and Hiroko, Miura, ‘Noh and Muromachi Culture’, in Salz, Jonah, ed., A History of Japanese Theatre. Cambridge: Cambridge University Press, 2016, pp. 24–61.Google Scholar
Kaldova, Josef, ‘The Gypsies of Czechoslovakia’, in Crowe, David and Kolsti, John, eds, The Gypsies of Eastern Europe. Armonk and London: M. E. Sharpe, 1991, pp. 93–115.Google Scholar
Kalsang, Ladrang, The Guardian Deities of Tibet, tr. Pema Thinley. Laxmi Nagar: Winsome Books, 1996.Google Scholar
Kanda, K. C., ed., Urdu Ghazals: An Anthology from 16th to 20th Century. New Delhi: Sterling, 1995.Google Scholar
Kennedy, Dennis, ‘Found in Translation’, Around the Globe, 50, Spring (2012), pp. 2–4.Google Scholar
Khosronejad, Pedran, ‘The People of the Air: Healing and Spirit Possession in South Iran’, in Zarcone, Thierry and Hobart, Angela, eds, Shamanism and Islam: Sufism, Healing Rituals and Spirits in the Muslim World. London and New York: I. B. Taurus, 2013, pp. 131–67.Google Scholar
King, Richard, Indian Philosophy: An Introduction to Hindu and Buddhist Thought. Edinburgh: Edinburgh University Press, 1999.Google Scholar
Kiséry, András, Hamlet’s Moment: Drama and Political Knowledge in Early Modern England. Oxford: Oxford University Press, 2016.Google Scholar
Kliman, Bernice W., ‘Hamlet’: Film, Television, and Audio Performance. Madison and Teaneck: Fairleigh Dickinson University Press, 1988.Google Scholar
Koechlin, Kalki, A Document in Madness: Do Indian Women Mirror Ophelia?. London: British Council, 2016.Google Scholar
Koliodimos, Dimitris, The Greek Filmography, 1914 Through 1996. Jefferson and London: McFarland, 1999.Google Scholar
Kopytoff, Igor, ‘Ancestors as Elders in Africa’, in Grinker, Roy Richard and Steiner, Christopher B., eds, Perspectives on Africa: A Reader in Culture, History, and Representation. Oxford: Blackwell, 1997, pp. 412–21.Google Scholar
Kozintsev, Grigori, ‘King Lear’: The Space of Tragedy, tr. Mary Mackintosh. London: Heinemann, 1977.Google Scholar
Kozintsev, Grigori Shakespeare: Time and Conscience, tr. Joyce Vining. London: Dennis Dobson, 1967.Google Scholar
Kozintsev, Grigori Vash Grigorii Kozintsev, ed. Butovskii, Iakov and Kozintseva, Valentina. Moscow: Artist, Rezhisser, Teatr, 1996.Google Scholar
Kurup, K. K. N., Poorakkali and Maruthukali: A Performance of Male Dancers in the Bhagavati Temples of Malabar. New Delhi: National Mission for Manuscripts, 2017.Google Scholar
Laachir, Karima, and Talajooy, Saeed, ‘Introduction’, in Laachir, Karima and Talajooy, Saeed, eds, Resistance in Contemporary Middle Eastern Cultures: Literature, Cinema and Music. London and New York: Routledge, 2013, pp. 1–12.Google Scholar
Ladner, Lorne, ‘Practice: Seeing with Eyes of Compassion’, in Ladner, Lorne, ed., The Wheel of Great Compassion: The Practice of the Prayer Wheel in Tibetan Buddhism. Boston: Wisdom Publications, 2000, pp. 3–14.Google Scholar
Laforgue, Jules Poems of Jules Laforgue, ed. Hiddleston, J. A.. Oxford: Blackwell, 1975.Google Scholar
LaGamma, Alisa, and Giuntini, Christine, The Essential Art of African Textiles: Design Without End. New Haven and London: Yale University Press, 2008.Google Scholar
Landrigan, Stephen, and Omar, Qais Akbar, Shakespeare in Kabul. London: Haus Publishing, 2012.Google Scholar
Lane, Jill, Blackface Cuba, 1840–1895. Philadelphia: University of Pennsylvania Press, 2005.Google Scholar
Lanier, Douglas M., ‘Film Spin-Offs and Citations’, in Burt, Richard, ed., Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture, 2 vols. Westport and London: Greenwood, 2007, I, pp. 132–365.Google Scholar
Lanier, Douglas M. ‘Hamlet: Tragedy and Film Adaptation’, in Neill, Michael and Schalkwyk, David, eds, The Oxford Handbook of Shakespearean Tragedy. Oxford: Oxford University Press, 2016, pp. 572–87.Google Scholar
Lanier, Douglas M. ‘Nouveau Noir: Claude Chabrol’s Ophélia, Shakespeare’s Hamlet, and the Nouvelle Vague’, in Hatchuel, Sarah and Vienne-Guerrin, Nathalie, eds, Shakespeare on Screen: ‘Hamlet’. Mont-Saint-Aignan: Publications de l’Université de Rouen et du Havre, 2011, pp. 235–55.Google Scholar
Lebdai, Benaouda, ‘Traces of Shakespeare’s Tragedies in Africa’, in Brown, Eric C. and Rivier, Estelle, eds, Shakespeare in Performance. Newcastle-upon-Tyne: Cambridge Scholars, 2013, pp. 182–93.Google Scholar
Leggatt, Alexander, Shakespeare’s Tragedies: Violation and Identity. Cambridge: Cambridge University Press, 2005.Google Scholar
Lentz, Carola, Ethnicity and the Making of History in Northern Ghana. Edinburgh: Edinburgh University Press, 2006.Google Scholar
Levenson, Jill L., and Ormsby, Robert, eds, The Shakespearean World. London and New York: Routledge, 2017.Google Scholar
Levi, Pavle, Disintegration in Flames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema. Stanford: Stanford University Press, 2007.Google Scholar
Levin, Joanna, ‘Lady Macbeth and the Daemonologie of Hysteria’, English Literary History, 69.1 (2002), pp. 21–55.Google Scholar
Lewis, Rhodri, Hamlet and the Vision of Darkness. Princeton and Oxford: Princeton University Press, 2017.Google Scholar
Lewis, Rhodri ‘Hamlet, Metaphor, and Memory’, Studies in Philology, 109.5 (2012), pp. 609–41.Google Scholar
Li, Ruru, ‘Millennium Shashibiya: Shakespeare in the Chinese-Speaking World’, in Kennedy, Dennis and Lan, Yong Li, eds, Shakespeare in Asia: Contemporary Performance. Cambridge: Cambridge University Press, 2010, pp. 170–87.Google Scholar
Li, Ruru Shashibiya: Staging Shakespeare in China. Hong Kong: Hong Kong University Press, 2003.Google Scholar
Lieblein, Leanore, ‘Nuancing Diversity: The Boyokani Company Hamlet’, alt.theatre, 4.2–3 (2006), pp. 22–24, 31.Google Scholar
Liew, Maria Van, ‘Immigration Films: Communicating Conventions of (In)visibility in Contemporary Spain’, in Beck, Jay and Ortega, Vicente Rodríguez, eds, Contemporary Spanish Cinema and Genre. Manchester and New York: Manchester University Press, 2008, pp. 259–78.Google Scholar
Litvin, Margaret, ‘Arab Near East’, in Marx, Peter W., ed., Hamlet-Handbuch: Stoffe, Aneignungen, Deutungen. Stuttgart and Weimar: Verlag J. B. Melzler, 2014, pp. 321–29.Google Scholar
Loder, Conny, ‘Siting Hamlet for the Online Generation: The Hamlet_X Project’, in Owen, Ruth J., ed., The Hamlet Zone: Reworking ‘Hamlet’ for European Cultures. Newcastle-upon-Tyne: Cambridge Scholars, 2012, pp. 85–90.Google Scholar
Loftis, Sonya Freeman, Allison Kellar and Lisa Ulevich, ‘Introduction: Post-Hamlet’, in Loftis, Sonya Freeman, Kellar, Allison and Ulevich, Lisa, eds, Shakespeare’s ‘Hamlet’ in an Era of Textual Exhaustion. London and New York: Routledge, 2018, pp. 1–25.Google Scholar
Luna, Francisco Vidal, and Klein, Herbert S., Brazil Since 1980. Cambridge: Cambridge University Press, 2006.Google Scholar
Ma, Sheng-Mei, East-West Montage: Reflections on Asian Bodies in Diaspora. Honolulu: University of Hawai’i Press, 2007.Google Scholar
Macaulay, Thomas Babington, Prose and Poetry, ed. Young, G. M.. Cambridge, Mass.: Harvard University Press, 1957.Google Scholar
MacCabe, , Colin, , ‘Introduction: Bazinian Adaptation’, in MacCabe, Colin, Murray, Kathleen and Warner, Rick, eds, True to the Spirit: Film Adaptation and the Question of Fidelity. Oxford: Oxford University Press, 2011, pp. 3–25.Google Scholar
MacFadyen, David, The Sad Comedy of Èl’dar Riazanov: An Introduction. Montreal and Kingston: McGill-Queen’s University Press, 2003.Google Scholar
McGarry, Aidan, Romaphobia: The Last Acceptable Form of Racism. London: Zed Books, 2017.Google Scholar
McLuskie, Kate, ‘Macbeth/uMabatha: Global Shakespeare in a Post-Colonial Market’, Shakespeare Survey, 52 (1999), pp. 154–65.Google Scholar
Maduakor, Obi, ‘Joe de Graft & the Ghana Cultural Revival’, in Banham, Martin, Gibbs, James and Osofian, Femi, eds, Playwrights and Politics. Oxford: James Currey, 2001, pp. 65–71.Google Scholar
Maher, Mary Z., Modern Hamlets and Their Soliloquies. Iowa City: University of Iowa Press, 2003.Google Scholar
Makaryk, Irena R., ‘Wartime Hamlet’, in Makaryk, Irena R. and Price, Joseph G., eds, Shakespeare in the Worlds of Communism and Socialism. Toronto, Buffalo and London: University of Toronto Press, 2006, pp. 119–35.Google Scholar
Malère, Kaf, ‘Un Hamlet africain’, Horizons Maghrébins: Le Droit à la Mémoire, 53 (2005), pp. 163–71.Google Scholar
Manchester, William, The Arms of Krupp, 1587–1968: The Rise and Fall of the Industrial Dynasty that Armed Germany at War. New York and Boston: Little Brown, 2003.Google Scholar
Manning, Patrick, Francophone Sub-Sarahan Africa, 1880–1995, 2nd ed. Cambridge: Cambridge University Press, 1998.Google Scholar
Martin-Jones, David, Deleuze, Cinema and National Identity: Narrative Time in National Contexts. Edinburgh: Edinburgh University Press, 2006.Google Scholar
Marušak, Martin, and Singer, Leo, ‘Social Unrest in Slovakia 2004: Romani Reaction to Neoliberal “Reforms”’, in Sigona, Nando and Trehan, Nidhi, eds, Romani Politics in Contemporary Europe: Poverty, Ethnic Mobilization, and the Neoliberal Order. Basingstoke: Palgrave, 2009, pp. 186–208.Google Scholar
Marx, Peter W., ed., Hamlet-Handbuch: Stoffe, Aneignungen, Deutungen. Stuttgart and Weimar: Verlag J. B. Meltzler, 2014.Google Scholar
Massai, Sonia, ‘“The Wide World”: Shakespeare Across the Globe’, in McMullan, Gordon and Wilcox, Zoë, eds, Shakespeare in Ten Acts. London: The British Library, 2016, pp. 63–79.Google Scholar
Massie, Suzanne, Land of the Firebird: The Beauty of Old Russia. New York: Simon and Schuster, 1980.Google Scholar
Matzke, Christine, ‘Afrika’, in Marx, Peter W., ed., Hamlet-Handbuch: Stoffe, Aneiguungen, Deutungen. Stuttgart and Weimar: Verlag J. B. Meltzler, 2014, pp. 330–42.Google Scholar
Mazierska, Ewa, European Cinema and Intertextuality: History, Memory and Politics. Basingstoke: Palgrave, 2011.Google Scholar
Mazierska, Ewa Jerzy Skolimowski: The Cinema of a Non-Conformist. New York and Oxford: Berghahn, 2010.Google Scholar
Mensah, Atta Annan, ‘The Great Ode of History: Music and Dance in Africa’, in Rubin, Don, Diakhaté, Ousmane and Eyoh, Hansel Ndumbe, eds, The World Encyclopedia of Contemporary Theatre: Africa. London and New York: Routledge, 1997, pp. 30–37.Google Scholar
Mikedakis, Emmi, ‘Manipulating Language: Metaphors in the Political Discourse of Georgios Papadoulos (1967–1973)’, in Close, Elizabeth, Tsianikas, Michael and Frazis, George, eds, Greek Studies in Australia: Research Perspectives. Adelaide: Flinders University Press, 2003, pp. 76–86.Google Scholar
Milton, John, ‘Severino in English’, Cadernos de Literatura em Tradução, 2 (1998), pp. 107–17.Google Scholar
Moallem, Minoo, Between Warrior Brother and Veiled Sister: Islamic Fundamentalism and the Politics of Patriarchy in Iran. Berkeley, Los Angeles and London: University of California Press, 2005.Google Scholar
Mock, Stephen J., Symbols of Defeat in the Construction of National Identity. Cambridge: Cambridge University Press, 2002.Google Scholar
Modarressi, Taghi, ‘The Zar Cult in South Iran’, in Prince, Raymond, ed., Trance and Possession States. Montreal: R. M. Bucke Memorial Society, 1968, pp. 149–55.Google Scholar
Modenessi, Alfredo Michel, ‘Meaning by Shakespeare South of the Border’, in Massai, Sonia, ed., World-Wide Shakespeares: Local Appropriations in Film and Performance. London and New York: Routledge, 2005, pp. 104–11.Google Scholar
Modenessi, Alfredo Michel ‘Of Shadows and Stones: Revering and Translating “The Word” Shakespeare in Mexico’, Shakespeare Survey, 54 (2001), pp. 152–64.Google Scholar
Modenessi, Alfredo Michel, and Rauen, Margarida Gandara, ‘Latin America’, in Marx, Peter W., ed., Hamlet-Handbuch: Stoffe, Aneignungen, Deutungen. Stuttgart and Weimar: Verlag J. B. Meltzler, 2014, pp. 366–73.Google Scholar
Montero, Alfred P., Brazilian Politics: Reframing a Democratic State in a Changing World. Cambridge: Polity, 2005.Google Scholar
Moore, Tiffany Conroy, Ann, Kozintsev’s Shakespeare Films: Russian Political Protest in ‘Hamlet’ and ‘King Lear’. Jefferson and London: McFarland, 2012.Google Scholar
Morozov, Mikhail M., Shakespeare on the Soviet Stage, tr. David Magarshack. London: Soviet News, 1947.Google Scholar
Mosteghanemi, Ahlem, When Shakespeare Thought I Was Cleopatra. London: British Council, 2016.Google Scholar
Murphy, David, and Williams, Patrick, Postcolonial African Cinema: Ten Directors. Manchester and New York: Manchester University Press, 2007.Google Scholar
Naden, A. J., and Schaefer, R. L., ‘The Meaning of “Fra-Fra”’, Institute of African Studies Research Review, 9. 2 (1973), pp. 7–12.Google Scholar
Naficy, Hamid, ‘Iranian Cinema’, in Nowell-Smith, Geoffrey, ed., The Oxford History of World Cinema. Oxford: Oxford University Press, 1996, pp. 672–78.Google Scholar
Naficy, Hamid ‘Islamizing Film Culture in Iran: A Post-Khatami Update’, in Tapper, Richard, ed., New Iranian Cinema: Politics, Representation and Identity. London and New York: I. B. Taurus, 2002, pp. 26–65.Google Scholar
Naficy, Hamid A Social History of Iranian Cinema: The Globalizing Era, 1984–2010. Durham and London: Duke University Press, 2012.Google Scholar
Nagib, Lúcia, Brazil on Screen: Cinema Novo, New Cinema, Utopia. London and New York: I. B. Taurus, 2007.Google Scholar
Neill, Michael, Issues of Death: Mortality and Identity in English Renaissance Tragedy. Oxford: Clarendon, 1997.Google Scholar
Neto, João de Melo, Cabral, Selected Poetry, 1937–1990, ed. Kadir, Djelal. Hanover and London: Wesleyan University Press, 1994.Google Scholar
Newman, Karen, Essaying Shakespeare. Minneapolis and London: University of Minnesota Press, 2009.Google Scholar
Norris, Steven N., Blockbuster History in the New Russia: Movies, Memory, and Patriotism. Bloomington and Indianapolis: Indiana University Press, 2012.Google Scholar
O’Leary, Niamh J., ‘Ambition and Desire: Gertrude as Tragic Hero in Feng Xiaogang’s The Banquet’, The Upstart Crow, 31 (2012), pp. 63–80.Google Scholar
Osanloo, Arzoo, The Politics of Women’s Rights in Iran. Princeton: Princeton University Press, 2009.Google Scholar
Osborne, Laurie E., ‘Filming Shakespeare in a Cultural Thaw: Soviet Appropriations of Shakespearean Treacheries in 1955–6’, Textual Practice, 9.2 (1995), pp. 325–47.Google Scholar
Ottenberg, Simon, ‘Artistic and Sex Roles in a Limba Chiefdom’, in Oppong, Christine, ed., Female and Male in West Africa. London, Boston and Sydney: George Allen and Unwin, 1983, pp. 76–90.Google Scholar
Oukaderova, Lida, The Cinema of the Soviet Thaw: Space, Materiality, Movement. Bloomington: Indiana University Press, 2017.Google Scholar
Owen, Ruth J., ed., The Hamlet Zone: Reworking ‘Hamlet’ for European Cultures. Newcastle-upon-Tyne: Cambridge Scholars, 2012.Google Scholar
Owlia, Shekufeh, ‘The New Woman and the Oriental Tropes as Portrayed in the Iranian Film Tardid Based on Hamlet’, in Beyad, Maryam and Salami, Ali, eds, Culture-Blind Shakespeare: Multiculturalism and Diversity. Newcastle-upon-Tyne: Cambridge Scholars, 2016, pp. 107–18.Google Scholar
Owusu-Addo, J., ‘Traditional Forms of Architecture in Ghana’, International Social Science Journal, 30.3 (1978), pp. 449–76.Google Scholar
Page, Ben, ‘“And the Oscar Goes to … Daybreak in Udi”: Understanding Late Colonial Community Development and Its Legacy Through Film’, Development and Change, 45.5 (2014), pp. 838–68.Google Scholar
Papadimitriou, Lydia, ‘Music, Dance and Cultural Identity in the Greek Film Musical’, in Papadimitriou, Lydia and Tzioumakis, Yannis, eds, Greek Cinema: Texts, Histories, Ideologies. Bristol and Chicago: Intellect, 2012, pp. 147–66.Google Scholar
Pasqualino, Caterina, ‘The Gypsies, Poor but Happy’, Third Text, 22.3 (2008), pp. 337–45.Google Scholar
Pavlović, Tatjana, Álvarez, Inmaculada, Blanco-Cano, Rosana, Grisales, Anitra, Osorio, Alejandra and Sánchez, Alejandra, 100 Years of Spanish Cinema. Oxford: Wiley-Blackwell, 2009.Google Scholar
Peer, Basharat, Curfewed Night: A Memoir of War in Kashmir. London: HarperCollins, 2011.Google Scholar
Peña, Richard, Polat, Doğa Kayalar, Dixon, Sean M. and Sprano, Alexandra N., The Space Between: A Panorama of Cinema in Turkey. New York: The Film Society of Lincoln Centre, 2012.Google Scholar
Petersen, Roger D., Understanding Ethnic Violence: Fear, Hatred, and Resentment in Twentieth-Century Eastern Europe. Cambridge: Cambridge University Press, 2002.Google Scholar
Petrini, Armando, ‘Amleto’ da Shakespeare a Laforgue per Carmelo Bene. Pisa: Edizioni ETS, 2004.Google Scholar
Pieke, Frank N., Knowing China: A Twenty-First Century Guide. Cambridge: Cambridge University Press, 2016.Google Scholar
Plastow, Jane, ‘Introduction’, in Plastow, Jane, ed., Shakespeare in and out of Africa. London: James Currey, 2013, pp. x–xiv.Google Scholar
Polsgrove, Carol, Ending British Rule in Africa: Writers in a Common Cause. Manchester and New York: Manchester University Press, 2009.Google Scholar
Pomeroy, Robin, ‘Ahmadinejad Aide Urges More Women’s Rights’, The Guardian, 30 September (2010), p. 23.Google Scholar
Pope, Nicole, and Pope, Hugh, Turkey Unveiled: A History of Modern Turkey. London and New York: Overlook Duckworth, 2011.Google Scholar
Powell, David E., ‘Putin, Demography, Health, and the Environment’, in Herspring, Dale R., ed., Putin’s Russia: Past Imperfect, Future Uncertain, 2nd ed. Lanham and New York: Rowman and Littlefield, 2005, pp. 89–118.Google Scholar
Prescott, Paul, and Sullivan, Erin, eds, Shakespeare and the Global Stage: Performance and Festivity in the Olympic Year. London and New York: Bloomsbury, 2015.Google Scholar
Presnyakov, Oleg and Vladimir, , Playing the Victim, tr. Sasha Dugdale. London: Nick Hern Books, 2003.Google Scholar
‘Prince of the Himalayas’: A Sherwood Hu Film, publicity book. Los Angeles and Shanghai: Hus Entertainment/CineHyte Films, 2006.Google Scholar
Prince, Stephen, The Warrior’s Camera: The Cinema of Akira Kurosawa. Princeton: Princeton University Press, 1999.Google Scholar
Quigly, Isabel, ‘Drums Over Elsinore’, The Spectator, 7162, 1 October (1965), pp. 410, 412.Google Scholar
Rajadhyaksha, Ashish, and Willemen, Paul, Encyclopaedia of Indian Cinema, rev. ed. New Delhi: Oxford University Press, 1999.Google Scholar
Rauen, Margarida Gandara, ‘Brazil’, in Dobson, Michael and Wells, Stanley, eds, The Oxford Companion to Shakespeare. Oxford: Oxford University Press, 2001, p. 54.Google Scholar
Reis, João José, Death Is a Festival: Funeral Rites and Rebellion in Nineteenth-Century Brazil, tr. H. Sabrina Gledhill. Chapel Hill and London: University of North Carolina Press, 2003.Google Scholar
Reis, Moura, Ozualdo Candeias: Pedrase Sonhos no Cineboca. São Paulo: Coleçäo Aplauso, 2010.Google Scholar
Rena, , ‘Ithele Na Ginei Vasilias/He Wanted to Become King’, Variety, 25 October (1967), n.p.Google Scholar
Resende, Aimara da Cunha, ‘Introduction: Brazilian Appropriations of Shakespeare’, in Resende, Aimara da Cunha, ed., Foreign Accents: Brazilian Readings of Shakespeare. Newark: University of Delaware Press, 2002, pp. 11–41.Google Scholar
Resende, Aimara da Cunha ‘Shakespeare on the Screen: Brazilian Cinema and TV’, Actes des Congrès de la Société Française Shakespeare, 33 (2015), pp. 2–13.Google Scholar
Ringold, Dena, Orenstein, Mitchell A. and Wilkens, Erika, Roma in an Expanding Europe: Breaking the Poverty Cycle. Washington, D.C.: The World Bank, 2005.Google Scholar
Rinpoche, Sogyal, The Tibetan Book of Living and Dying, ed. Gaffney, Patrick and Harvey, Andrew. London and Sydney: Rider, 2008.Google Scholar
Rippin, Andrew, Muslims: Their Religious Beliefs and Practices, 3rd ed. London and New York: Routledge, 2005.Google Scholar
Robins, Kevin, and Aksoy, Asu, ‘Deep Nation: The National Question and Turkish Cinema Culture’, in Hjort, Mette and Mackenzie, Scott, eds, Cinema and Nation. London and New York: Routledge, 2000, pp. 203–21.Google Scholar
Rohter, Larry, Brazil on the Rise: The Story of a Country Transformed. New York: Palgrave Macmillan, 2010.Google Scholar
Rollet, Brigitte, ‘French Funding and Francophone Cinema’, in Stefanson, Blandine and Petty, Sheila, eds, Directory of World Cinema: Africa. Bristol and Chicago: Intellect, 2014, pp. 36–38.Google Scholar
Rosefielde, Steven, and Hedlund, Stefan, Russia Since 1980: Wrestling with Westernization. Cambridge: Cambridge University Press, 2009.Google Scholar
Rothschild, N. Harry, Wu Zhao: China’s Only Woman Emperor. New York and London: Pearson/Longman, 2008.Google Scholar
Rothwell, Kenneth S., A History of Shakespeare on Screen: A Century of Film and Television, 2nd ed. Cambridge: Cambridge University Press, 2004.Google Scholar
Royal Shakespeare Company: William Shakespeare, ‘Hamlet’, RSC Programme. Stratford-upon-Avon: RSC, 2016.Google Scholar
Russell, Ralph, The Pursuit of Urdu Literature: A Select History. London and New Jersey: Zed Books, 1992.Google Scholar
Sá, Daniel Serravalle de, ‘Cinema Marginal’, in Pinazza, Nátalia and Bayman, Louis, eds, World Film Locations: São Paulo. Bristol: Intellect, 2013, pp. 46–47.Google Scholar
Sadeghi, Fatemeh, ‘The Green Movement: A Struggle against Islamist Patriarchy?’, in Nabavi, Negin, ed., Iran: From Theocracy to the Green Movement. New York: Palgrave, 2012, pp. 123–36.Google Scholar
Sadlier, Darlene J., Brazil Imagined: 1500 to the Present. Austin: University of Texas Press, 2008.Google Scholar
Safi, Michael, ‘“A Great First Step”: Elation in India after Gay Sex Is Legalised’, The Guardian, 7 September (2018), p. 27.Google Scholar
Salm, Steven J., and Falola, Toyin, Culture and Customs of Ghana. Westport and London: Greenwood Press, 2002.Google Scholar
Sama, Emmanuel, ‘African Films Are Foreigners in Their Own Countries’, in Bakari, Imruh and Cham, Mbye B., eds, African Experiences of Cinema. London: BFI, 1996, pp. 148–56.Google Scholar
Sanders, Julie, Adaptation and Appropriation, 2nd ed. London and New York: Routledge, 2016.Google Scholar
Sandon, Emma, Rice, Tom and Bloom, Peter, ‘Changing the World: Sean Graham’, Journal of British Cinema and Television, 10 .3 (2013), pp. 524–36.Google Scholar
Sanura, Nives, Immer Wieder ‘Hamlet’: Shakespeares Tragödie im Film – Immer Wieder Anders. Trier: WVT, 2004.Google Scholar
Sarpong, Peter, The Sacred Stools of the Akan. Accra-Tema: Ghana Publishing Corporation, 1971.Google Scholar
Sayin, Gülşen, ‘Shakespeare’s Turkish Drama: A Cultural Transfer from Hamlet to The Angel of Vengeance (1976)’, Journal of Adaptation in Film and Performance, 4.1 (2011), pp. 17–37.Google Scholar
Schandl, Veronika, ‘History Interrupted: Hamlet and 1956 in Hungary’, in Owen, Ruth J., ed., The Hamlet Zone: Reworking ‘Hamlet’ for European Cultures. Newcastle-upon-Tyne: Cambridge Scholars, 2012, pp. 105–14.Google Scholar
Schauert, Paul, Staging Ghana: Artistry and Nationalism in State Dance Ensembles. Bloomington and Indianapolis: Indiana University Press, 2015.Google Scholar
Schelling, Vivian, ‘Popular Culture in Latin America’, in King, John, ed., The Cambridge Companion to Modern Latin American Culture. Cambridge: Cambridge University Press, 2004, pp. 171–201.Google Scholar
Seddon, Deborah, ‘The Colonial Encounter and The Comedy of Errors: Solomon Plaatje’s Diphosho-phosho’, The Shakespeare International Yearbook, 9 (2009), pp. 66–86.Google Scholar
Seidl, Monika, ‘Hamlet, the Sponge and Hamlet, the Angel of Vengeance: About a Turkish Version of Hamlet’, Shakespeare Yearbook, 13 (2002), pp. 401–18.Google Scholar
Semenenko, Aleksei, ‘“Adieu, Remember Me”: The Hamlet Canon in Post-Soviet Russia’, in Baer, Brian James and Witt, Susanna, eds, Translation in Russian Contexts: Culture, Politics, Identity. London and New York: Routledge, 2018, pp. 276–91.Google Scholar
Semenenko, Aleksei ‘“No Text Is an Island”: Translating Hamlet in Twenty-First Century Russia’, in Baer, Brian James, ed., Contexts, Subtexts and Pretexts: Literary Translation in Eastern Europe and Russia. Amsterdam and Philadelphia: John Benjamins, 2011, pp. 249–63.Google Scholar
Senelick, Laurence, ‘Theatre’, in Rzhevsky, Nicholas, ed., The Cambridge Companion to Modern Russian Culture, 2nd ed. Cambridge: Cambridge University Press, 2012, pp. 279–315.Google Scholar
Seyed-Gohrab, Asghar, and Talattof, Kamran, ‘Politics and Persistence: The Development of Iranian Film’, in Seyed-Gohrab, Asghar and Talattof, Kamran, eds, Conflict and Development in Iranian Film. Leiden: Leiden University Press, 2013, pp. 9–18.Google Scholar
Shakespeare, William, Hamlet, tr. Jean-Michel Déprats. Paris: Éditions Gallimard, 2002.Google Scholar
Shakespeare, William Hamlet, ed. Ann Thompson and Neil Taylor, revised edition. London and New York: Bloomsbury, 2016.Google Scholar
Sheppard, Philippa, Devouring Time: Nostalgia in Contemporary Shakespearean Screen Adaptations. Montreal and Kingston: McGill-Queen’s University Press, 2017.Google Scholar
Shigetoshi, Kawatake, Yoshio, Yoshikawa and Kazuo, Takekosi, Theatre in Japan. Tokyo: Japanese National Commission for UNESCO, 1963.Google Scholar
Shingehiko, Hasumi, ‘Samurai Loyalty: A Film Geneaology of Katô Tai’, in Yamane, Sadao and Shingehiko, Hasumi, eds, Midnight Surprise: Katô Tai. Tokyo: The Japan Foundation, c. 1997, pp. 19–30.Google Scholar
Shillington, Kevin, History of Africa, 3rd ed. Basingstoke and New York: Palgrave, 2012.Google Scholar
Shurbanov, Alexander, and Sokolova, Boika, ‘From the Unlove of Romeo and Juliet to Hamlet without the Prince: A Shakespearean Mirror Held Up to the Fortunes of the New Bulgaria’, in Hattaway, Michael, Sokolova, Boika and Roper, Derek, eds, Shakespeare in the New Europe. Sheffield: Sheffield Academic Press, 1994, pp. 24–53.Google Scholar
Silva, Marcel Barreto, Vieira, Adaptação Intercultural: O Caso de Shakespeare no Cinema Brasileiro. Salvador: Edufba Compós, 2013.Google Scholar
Singh, Jyotsna G., Colonial Narratives/Cultural Dialogues: ‘Discoveries’ of India in the Language of Colonialism. London and New York: Routledge, 1996.Google Scholar
Singh, Jyotsna G. ‘Introduction’, in Singh, Jyotsna G. and Kim, David D., eds, The Postcolonial World. London and New York: Routledge, 2017, pp. 1–31.Google Scholar
Singh, Jyotsna G. Shakespeare and Postcolonial Theory. London and New York: Bloomsbury, 2019.Google Scholar
Skidmore, Thomas E., Brazil: Five Centuries of Change. New York and Oxford: Oxford University Press, 1999.Google Scholar
Skidmore, Thomas E., and Smith, Peter H., Modern Latin America, 6th ed. New York and Oxford: Oxford University Press, 2005.Google Scholar
Skura, Meredith Anne, Shakespeare the Actor and the Purposes of Playing. Chicago and London: University of Chicago Press, 1993.Google Scholar
Smidt, Kristian, ‘The Discovery of Shakespeare in Scandinavia’, in Delabastita, Dirk and D’Hulst, Lieven, eds, European Shakespeares: Translating Shakespeare in the Romantic Age. Amsterdam and Philadelphia: John Benjamins, 1993, pp. 91–104.Google Scholar
Smith, Bruce R., ed., The Cambridge Guide to the Worlds of Shakespeare, 2 vols. Cambridge: Cambridge University Press, 2016.Google Scholar
Smith, Ian, ‘We Are Othello: Speaking of Race in Early Modern Studies’, Shakespeare Quarterly, 67.1 (2016), pp. 104–24.Google Scholar
Smyth, Rosaleen, ‘Images of Empire on Shifting Sands: The Colonial Film Unit in West Africa in the Post-War Period’, in Grieveson, Lee and MacCabe, Colin, eds, Film and the End of Empire. London: BFI, 2011, pp. 155–76.Google Scholar
Sokolyansky, Mark, ‘Grigori Kozintsev’s Hamlet and King Lear’, in Jackson, Russell, ed., The Cambridge Companion to Shakespeare on Film, 2nd ed. Cambridge: Cambridge University Press, 2007, pp. 203–15.Google Scholar
Sokolyansky, Mark ‘Russia’, in Marx, Peter W., ed., Hamlet-Handbuch: Stoffe, Aneignungen, Deutungen. Stuttgart and Weimar: Verlag J. B. Meltzler, 2014, pp. 312–16.Google Scholar
Stam, Robert, Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture. Durham and London: Duke University Press, 1997.Google Scholar
Stepan, Peter, Spirits Speak: A Celebration of African Masks. Munich, London and New York: Prestel, 2005.Google Scholar
Stone, James W., Crossing Gender in Shakespeare: Feminist Psychoanalysis and the Difference Within. New York and London: Routledge, 2010.Google Scholar
Stone, Rob, Cooke, Paul, Dennison, Stephanie and Marlow-Mann, Alex, ‘Introduction: The Longitude and Latitude of World Cinema’, in Stone, Rob, Cooke, Paul, Dennison, Stephanie and Marlow-Mann, Alex, eds, The Routledge Companion to World Cinema. London and New York: Routledge, 2018, pp. 1–20.Google Scholar
Storm, Rachel, Myths and Legends of India, Egypt, China and Japan. Wigston: Anness, 2011.Google Scholar
Stříbrný, Zdenĕk, Shakespeare and Eastern Europe. Oxford: Oxford University Press, 2000.Google Scholar
Strukov, Vlad, Contemporary Russian Cinema: Symbols of a New Era. Edinburgh: Edinburgh University Press, 2016.Google Scholar
Sutherland-Addy, Esi, ‘The Funeral as a Site for Choreographing Modern Identities in Contemporary Ghana’, in Konadu, Kwasi and Campbell, Clifford C., eds, The Ghana Reader: History, Culture, Politics. Durham and London: Duke University Press, 2016, pp. 428–33.Google Scholar
Tai, Katô, ‘The Fundamentals of My Filmmaking’, in Yamane, Sadao and Shingehiko, Hasumi, eds, Midnight Surprise: Katô Tai. Tokyo: The Japan Foundation, c. 1997, pp. 5–18.Google Scholar
Tai, Katô, Yamane, Sadao and Yasui, Yoshio, Katô Tai, eiga o kataru. Tokyo: Chikuma Shobo, 1994.Google Scholar
Tan, Tian Yuan, Edmondson, Paul and Wang, Shih Pe, eds, 1616: Shakespeare and Tang Xianzu’s China. London and New York: Bloomsbury, 2016.Google Scholar
Tapper, Richard, ‘Introduction’, in Tapper, Richard, ed., New Iranian Cinema: Politics, Representation and Identity. London and New York: I. B. Taurus, 2002, pp. 1–25.Google Scholar
Tempera, Mariangela, ‘“Not to Be”: Referencing the Rest of Hamlet on Screen’, in Hatchuel, Sarah and Vienne-Guerrin, Nathalie, eds, Shakespeare on Screen: ‘Hamlet’. Mont-Saint-Aignan: Publications de l’Université de Rouen et du Havre, 2011, pp. 345–68.Google Scholar
Thackway, Melissa, Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film. Bloomington and Indianapolis: Indiana University Press, 2003.Google Scholar
Thakur, Vikram Singh, ‘Parsi Shakespeare: The Precursor to “Bollywood” Shakespeare’, in Dionne, Craig and Kapadia, Parmita, eds, Bollywood Shakespeares. New York and Basingstoke: Palgrave, 2014, pp. 21–44.Google Scholar
Thomas, Alfred, Shakespeare, Dissent and the Cold War. Basingstoke and New York: Palgrave, 2014.Google Scholar
Thomas, Rosie, Bombay Before Bollywood: Film City Fantasies. New York: SUNY Press, 2013.Google Scholar
Thomson, C. Claire, Thomas Vinterberg’s ‘Festen’ (‘The Celebration’). Seattle: University of Washington Press, 2013.Google Scholar
Tipton, Elise K., Modern Japan: A Social and Political History, 2nd ed. London and New York: Routledge, 2008.Google Scholar
Trivedi, Poonam, ‘Introduction’, in Trivedi, Poonam and Bartholomeusz, Dennis, eds, India’s Shakespeare: Translation, Interpretation, and Performance. Newark: University of Delaware Press, 2005, pp. 13–46.Google Scholar
Trivedi, Poonam, and Chakravarti, Paromita, ‘Shakespeare and Indian Cinemas: “Local Habitations”’, in Trivedi, Poonam and Chakravarti, Paromita, eds, Shakespeare and Indian Cinemas: ‘Local Habitations’. London and New York: Routledge, 2018, pp. 1–19.Google Scholar
Ukadike, Nwachukwu Frank, Black African Cinema. Berkeley, Los Angeles and London: University of California Press, 1994.Google Scholar
Vakhlu, S. N., ‘The Nightingale of Kashmir (Habba Khatoon: Her Life and Work)’, in Kalla, K. L., ed., The Literary Heritage of Kashmir. Delhi: Mittal Publications, 1985, pp. 198–208.Google Scholar
Van Cutsen, Anne, and Magliani, Mauro, Powerful Headdresses: Africa/Asia. Milan: 5 Continents Editions, 2010.Google Scholar
Vaughan, Virginia Mason, Performing Blackness on English Stages, 1500–1800. Cambridge: Cambridge University Press, 2005.Google Scholar
Venkiteswaran, C. S., ‘Shakespeare in Malayalam Cinema: Cultural and Mythic Interface, Narrative Negotiations’, in Trivedi, Poonam and Chakravarti, Paromita, eds, Shakespeare and Indian Cinemas: ‘Local Habitations’. London and New York: Routledge, 2018, pp. 75–92.Google Scholar
Viejo, Breixo, ‘O Cangaceiro’, in Elena, Alberto and López, Marina Díaz, eds, The Cinema of Latin America. London and New York: Wallflower, 2003, pp. 63–69.Google Scholar
Votruba, Martin, ‘Rosy Dreams’, in Bingham, Adam, ed., Directory of World Cinema: East Europe. Bristol and Chicago: Intellect, 2011, pp. 77–79.Google Scholar
Waines, David, An Introduction to Islam, 2nd ed. Cambridge: Cambridge University Press, 2003.Google Scholar
Walsh, Brian, ‘Resisting Hamlet: Revenge and Nonviolent Struggle in Vishal Bhardwaj’s Haider’, Literature/Film Quarterly, 46.2 (2018), pp. 1–8.Google Scholar
Warren, Nathan W., Racial Revolutions: Antiracism and Indian Resurgence in Brazil. Durham and London: Duke University Press, 2001.Google Scholar
Waugh, Thomas, ‘“I Sleep Behind You”: Male Homosociality and Homoeroticism in Indian Parallel Cinema’, in Vanita, Ruth, ed., Queering India: Same-Sex Love and Eroticism in Indian Culture and Society. London and New York: Routledge, 2002, pp. 193–206.Google Scholar
Wells, Miriam, ‘Brazil Persecutes Slave-era Cults’, The Sunday Times, 7 September (2014), p. 28.Google Scholar
Wells, Stanley, ‘Hamlet the Hoop’, Times Literary Supplement, 7 February (2014), p. 6.Google Scholar
White, R. S., Avant-Garde Hamlet: Text, Stage, Screen. Madison and Teaneck: Fairleigh Dickinson University Press, 2015.Google Scholar
Wiens, Birgit, ‘Hamlet and the Virtual Stage: Herbert Fritsch’s Project, hamlet_x’, in Chapple, Freda and Kattenbelt, Chiel, eds, Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, 2006, pp. 223–36.Google Scholar
Williams, , Linda, , Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson. Princeton and Oxford: Princeton University Press, 2001.Google Scholar
Wu, Hui, ‘Three Hamlets, Two Gentlemen and One Time to Love: Shakespeare on the Chinese Screen’, in Raw, Lawrence, ed., The Silk Road of Adaptation: Transformations from Across Disciplines and Cultures. Newcastle-upon-Tyne: Cambridge Scholars, 2013, pp. 110–21.Google Scholar
Xavier, Ismail, Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema. Minneapolis: University of Minnesota Press, 1997.Google Scholar
Xiangua, Wang, ‘Shakespeare in China’, in Sutton, Jacob, ed., Shakespeare and Friends. London: Claude & Co., 2012, pp. 80–83.Google Scholar
Yamane, Sadao, ‘Filmography of Katô Tai’, in Yamane, Sadao and Shingehiko, Hasumi, eds, Midnight Surprise: Katô Tai. Tokyo: The Japan Foundation, c. 1997, pp. 58–79.Google Scholar
Yamane, Sadao ‘A Profile of Katô Tai’, in Yamane, Sadao and Shingehiko, Hasumi, eds, Midnight Surprise: Katô Tai. Tokyo: The Japan Foundation, c. 1997, pp. 1–4.Google Scholar
Yang, Lingui, ‘Shakespeare’s Cultural Capital Made in China: From Pre-modern to Post-modern’, Shakespeare Yearbook, 17 (2010), pp. 79–100.Google Scholar
Yang, Mayfair Mei-hui, ‘From Gender Erasure to Gender Difference: State Feminism, Consumer Society, and Women’s Public Sphere in China’, in Yang, Mayfair Mei-hui, ed., Spaces of Their Own: Women’s Public Sphere in Transnational China. Minneapolis and London: University of Minnesota Press, 1999, pp. 35–67.Google Scholar
Yoshimoto, Mitsuhiro, Kurosawa: Film Studies and Japanese Cinema. Durham: Duke University Press, 2000.Google Scholar
Younge, Paschal Yao, Music and Dance Traditions of Ghana: History, Performance and Teaching. Jefferson and London: McFarland, 2011.Google Scholar
Yunhun, Luo, ‘Queen Xiaowu’, in Peterson, Barbara Bennett, ed., Notable Women of China: Shang Dynasty to the Early Twentieth Century. London and New York: Routledge, 2000, pp. 63–65.Google Scholar
‘Zafar’, Bahadur Shah, Selected Poems, ed. Tariq Mahmood, Khwaja. New Delhi: Star Publications, 2003.Google Scholar
Zak, William F., Hamlet’s Problematic Revenge: Forging a Royal Mandate. Lanham and Boulder: Lexington Books, 2015.Google Scholar
Zarrilli, Phillip B., When the Body Becomes All Eyes: Paradigms, Discourses and Practices of Power in Kalarippayattu, a South Indian Martial Art. New Delhi: Oxford University Press, 1998.Google Scholar
Zaslavsky, Claudia, Africa Counts: Number and Pattern in African Cultures, 3rd ed. Chicago: Lawrence Hill Books, 1999.Google Scholar
Zeydabadi-Nejad, Saeed, ‘Madness, Resistance and Iranian Cinema’, in Laachir, Karima and Talajooy, Saeed, eds, Resistance in Contemporary Middle Eastern Cultures: Literature, Cinema and Music. London and New York: Routledge, 2013, pp. 184–203.Google Scholar
Zimmermann, Heiner O., ‘Is Hamlet Germany? On the Political Reception of Hamlet’, in Burnett, Mark Thornton and Manning, John, eds, New Essays on ‘Hamlet’. New York: AMS, 1994, pp. 293–318.Google Scholar
Secondary Sources
Anil, Emel, ‘Actress Breaks Male Barrier in Turkey by Becoming a Mayor’, www.apnewsarchive.com (accessed 1 April 2014).Google Scholar
‘The Banquet: About the Production’, www.metrodomereleasing.com/films/banquet (accessed 12 May 2009).Google Scholar
Chandran, Suba, ‘The First Suicide Bomb in Kashmir’, IPCS: Institute of Peace and Conflict Studies, 11 May 2000, www.ipcs.org/focusthemsel (accessed 27 July 2018).Google Scholar
Dulai, Shaminder, ‘Back in the Shadows: The Perils of Being LGBT in India’, Newsweek, 29 December 2014, www.newsweek.com/india-gay-lgbt (accessed 20 July 2018).Google Scholar
Farzad, Narguess, ‘The Essay: Shakespeare Around the Globe’, BBC Radio 3, 15 May 2012, www.bbc.co.uk/programmes/b01hjprs (accessed 7 September 2018).Google Scholar
‘Leprosy Elimination: World Health Organization Regional Office for Africa’, www.afro.who.int (accessed 4 January 2017).Google Scholar
Rice, Tom, ‘Gold Coast Film Unit’, www.colonialfilm.org.uk (accessed 15 January 2017).Google Scholar