Bibliography

Mark Thornton Burnett

doi:10.1017/9781316471708.010

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

Afanasyev, Alexander, Russian Fairy Tales. New York: Planet, 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

Ahmad, Feroz, The Making of Modern Turkey. London and New York: Routledge, 1993.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.CrossRef Google 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.CrossRef Google 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

And, Metin ‘Shakespeare in Turkey’, Theatre Research, 6.2 (1964), pp. 75–84.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

Arslan, Savaş ‘Turkish Hamlets’, Shakespeare, 4.2 (2008), pp. 157–68.CrossRef 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.CrossRef Google 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

Bakewell, Peter, A History of Latin America, 2nd ed. Oxford: Blackwell, 2004.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

Basham, A. L., The Wonder That Was India, 3rd ed. London: Sidgwick and Jackson, 1988.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

Bene, Carmelo, Opere: Con l’autographia di un ritratto. Milan: Bompiani, 2008.Google Scholar

Bennett, Susan, and Carson, Christie, eds, Shakespeare Beyond English: A Global Experiment. Cambridge: Cambridge University Press, 2013.CrossRef Google 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, A History of Russian Cinema. Oxford and New York: Berg, 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

The Bhagavad Gita, ed. Radhakrishnan, S.. London: George Allen and Unwin, 1948.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

Casavella, Francisco, El Triunfo. Barcelona: Editorial Anagrama, 2017.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.CrossRef Google Scholar

Chandran, T. V., Ritual as Ideology: Text and Context in Teyyam. New Delhi: Indira Gandhi National Centre for the Arts, 2006.Google Scholar

Chapman, James, Cinemas of the World. London: Reaktion, 2003.Google Scholar

Charnes, Linda, Hamlet’s Heirs: Shakespeare and the Politics of a New Millennium. New York and London: Routledge, 2006.CrossRef Google 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

Chrisafis, Angelique, ‘Myths of 68?’, The Guardian, 15 January (2018), p. 37.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

Clark, Martin, Modern Italy, 1871–1995, 2nd ed. London and New York: Longman, 1996.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

Cowie, Peter, ed., World Filmography 1967. London: Tantivy, 1977.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.CrossRef Google 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

Diop, Birago, Leurres et lueurs. Paris: Présence Africaine, 1960.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

Dromgoole, Dominic, Hamlet: Globe to Globe. Edinburgh: Canongate, 2017.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

Dutta, Krishna, Calcutta: A Cultural and Literary History. Oxford: Signal, 2003.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

Eisenhofer, Stefan, African Art. Los Angeles and Cologne: Taschen, 2010.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

Fraser, Angus, The Gypsies. Oxford: Blackwell, 1995.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

Ghālib, Mirza, Love Sonnets of Ghālib, ed. Niazi, Sarfaraz K.. New Delhi: RUPA, 2011.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

Hake, Sabine, German National Cinema. London and New York: Routledge, 2002.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

Hirsch, Foster, Film Noir: The Dark Side of the Screen. New York: Da Capo, 1981.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, Douglas A., The History of Turkey. Westport: Greenwood, 2001.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

Ippaso, Katia, Amleto a Gerusalemme. Roma: Editoria & Spettacolo, 2009.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

Judt, Tony, Postwar: A History of Europe Since 1945. London: Vintage, 2010.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

‘Kashmir Clashes Kill 7’, The Guardian, 10 July (2017), p. 32.Google Scholar

Kennedy, Dennis, ‘Found in Translation’, Around the Globe, 50, Spring (2012), pp. 2–4.Google Scholar

Khilnani, Sunil, The Idea of India. London and New York: Penguin, 2012.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

Kozintsev, Grigori Vremia tragedii. Moscow: Vagrius, 2004.Google Scholar

Kurlansky, Mark, 1968: The Year That Rocked the World. New York: Random House, 2004.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, Moral Tales, tr. William Jay Smith. London: Picador, 1985.Google Scholar

Laforgue, Jules Poems of Jules Laforgue, ed. Hiddleston, J. A.. Oxford: Blackwell, 1975.Google Scholar

LaGamma, Alisa, Kongo: Power and Majesty. New York: Metropolitan Museum of Art, 2015.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

Lambton, Ann K. S., Persian Vocabulary. Cambridge: Cambridge University Press, 1953.Google Scholar

Landrigan, Stephen, and Omar, Qais Akbar, Shakespeare in Kabul. London: Haus Publishing, 2012.Google Scholar

Landy, Marcia, Italian Film. Cambridge: Cambridge University Press, 2000.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

Lanier, Douglas M. ‘Shakescorp Noir’, Shakespeare Quarterly, 53.2 (2002), pp. 157–80.Google Scholar

Leaming, Barbara, Grigori Kozintsev. Boston: Twayne, 1980.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

McClean, James L., Japan: A Modern History. New York and London; Norton, 2002.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

The Mahābhārata, ed. Smith, John D.. London and New York: Penguin, 2009.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

Manvell, Roger, Shakespeare and the Film. London: Dent, 1971.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

Matras, Yaron, The Romani Gypsies. Cambridge, Mass.: Harvard University Press, 2015.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

Meade, Teresa E., A Modern History of Latin America. Oxford: Blackwell, 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

Nkrumah, Kwame, I Speak of Freedom. London: Heinemann, 1961.Google Scholar

Nochimson, Martha P., World on Film: An Introduction. Oxford: Wiley-Blackwell, 2010.Google Scholar

Norris, Steven N., Blockbuster History in the New Russia: Movies, Memory, and Patriotism. Bloomington and Indianapolis: Indiana University Press, 2012.Google Scholar

‘Obituaries: Berthold Beitz’, The Times, 2 August (2013), p. 49.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

Ovid, , The Metamorphoses, tr. Mary M. Innes. Harmondsworth: Penguin, 1955.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, Heike, African Symbols. New York and London: Sterling, 2000.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

Paker, Saliha, ‘Hamlet in Turkey’, New Comparison, 2 (1986), pp. 89–105.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

Richie, Donald, The Inland Sea. Berkeley: Stone Bridge, 2002.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

Rowe, Eleanor, Hamlet: A Window on Russia. New York: New York University Press, 1976.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

Sangharakshita, , Tibetan Buddhism: An Introduction. Birmingham: Windhorse, 1999.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

Semenza, Greg Colón, ‘Introduction’, Shakespeare Studies, 38 (2010), pp. 19–25.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

‘Severed Lives’, The Sunday Times Magazine, 25 July (2010), pp. 42–3.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

Sorlin, Pierre, Italian National Cinema. London and New York: Routledge, 1996.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, Norman, Turkey: A Short History. London: Thames & Hudson, 2011.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

Strangways, A. H. Fox, The Music of Hindostan. Oxford: Clarendon, 1914.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

Ternavasio, Maurizio, Macario: Vita di un Comico. Turin: Lindau, 1998.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

Vālmīki, , The Rāmāyana, ed. Arshia, Sattar. New Delhi: Penguin, 1996.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

Verma, Rajiva, ‘Hamlet on the Hindi Screen’, Hamlet Studies, 24 (2002), pp. 81–93.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

Wilson-Lee, Edward, Shakespeare in Swahililand. London: HarperCollins, 2016.Google Scholar

Wright, Gordon, France in Modern Times, 5th ed. New York and London: Norton, 1995.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

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

‘Global Shakespeares’, globalshakespeares.mit.edu (accessed 8 August 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

Book contents

Bibliography

Summary

Access options

References

Primary Sources

Secondary Sources

Book contents

Bibliography

Summary

Access options

References

Primary Sources

Secondary Sources

Save book to Kindle

Save book to Dropbox

Save book to Google Drive