| Sumario: | This article examines the transmedia history and postcolonial significance of *Hamile: The Tongo Hamlet* (1965), a Ghanaian adaptation of Shakespeare’s *Hamlet*, situating it within broader debates on media theory, coloniality, and African cultural production. It explores how *Hamile*—produced by the Ghana Film Industry Corporation and rooted in Joe de Graft’s stage adaptation—challenges Western notions of medium specificity and racialized media literacy by embodying hybridity across theater, film, television, and dance. The article contextualizes *Hamile* alongside Marshall McLuhan’s media theories and Kwame Nkrumah’s Pan-Africanist politics, highlighting Shakespeare’s complex role as both a colonial symbol and a medium for African anticolonial expression. It further critiques colonial and neocolonial archival practices, emphasizing the importance of embodied and transmedia preservation of African cultural heritage beyond material media formats.
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