"The Bard Wouldn't Recognize Hamlet": On Medium Specificity and Shakespeare in Africa.
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 th...
| Publicado en: | Discourse: Journal for Theoretical Studies in Media & Culture Vol. 47; no. 1; pp. 135 - 165 |
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| Formato: | Artículo |
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Wayne State University Press
Winter2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=193164851&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 193164851 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 15225321 NC3 jtl: Discourse: Journal for Theoretical Studies in Media & Culture issn: 15225321 maglogo: N pubinfo: dt: Winter2025 vid: 47 iid: 1 pid: 426 pub: Wayne State University Press artinfo: ui: 193164851 10.1353/dis.2025.a986925 ppf: 135 ppct: 30 formats: fmt: – @attributes: type: T – @attributes: type: P size: 312KB tig: atl: "The Bard Wouldn't Recognize Hamlet": On Medium Specificity and Shakespeare in Africa. aug: au: Blaylock, Jennifer su: Africa McLuhan, Marshall, 1911-1980 Shakespeare, William, 1564-1616 Nkrumah, Kwame, 1909-1972 Media studies Cultural production Postcolonialism Colonies Transmedia storytelling Cultural adaptation Film adaptations Playwriting sug: subj: Media studies Cultural production Postcolonialism Colonies Africa Transmedia storytelling Cultural adaptation Film adaptations Playwriting McLuhan, Marshall, 1911-1980 Shakespeare, William, 1564-1616 Nkrumah, Kwame, 1909-1972 ab: 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. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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