Shakespeare Quarterly

Permalink for this paragraph 0 [1] Beth E. Kolko, Lisa Nakamura, and Gilbert Rodman, “Race in Cyberspace,” in Race in Cyberspace, eds. Beth E. Kolko, Lisa Nakamura, and Gilbert Rodman (New York: Routledge, 2000), 1-13, esp. 10.

Permalink for this paragraph 0 [2] Lisa Nakamura, Digitizing Race: Visual Cultures on the Internet (Minneapolis: U of Minnesota P, 2008), 176.

Permalink for this paragraph 0 [3] Samuel Crowl, “‘Ocular Proof’: Teaching Othello in Performance,” in Approaches to Teaching Shakespeare’s Othello, eds. Peter Erickson and Maurice Hunt (New York: The Modern Language Association of America, 2005), 162-168, esp. 162.

Permalink for this paragraph 0 [4] For YouTube’s rhetoric about its own creation see: http://www.youtube.com/t/about.

Permalink for this paragraph 0 [5] See Donald Roberts, Ulla Foehr, and Victoria Rideout’s collective study for the Kaiser Family Foundation: Generation M: Media in the Lives of 8-18 Year-Olds; A Kaiser Family Foundation Study (Menlo Park, CA: Kaiser Family Foundation, 2005).

Permalink for this paragraph 0 [6] Reduced Shakespeare Company, dir. Paul Kafno, perf. Adam Long, Reed Martin, and Austin Tichenor (Acorn Media, 2003).

Permalink for this paragraph 0 [7] Nakamura, Digitizing Race, 171.

Permalink for this paragraph 0 [8] Nakamura, Digitizing Race, 184.

Permalink for this paragraph 0 [9] Francesca Royster, “Rememorializing Othello: Teaching Othello and the Cultural Memory of Racism,” in Approaches to Teaching Shakespeare’s Othello, ed. Peter Erickson and Maurice Hunt (New York: The Modern Language Association of America, 2005), 53-61, esp. 53.

Permalink for this paragraph 0 [10] Kim C. Sturgess, Shakespeare and the American Nation (Cambridge: Cambridge UP, 2004), 33.

Permalink for this paragraph 0 [11] These terms and phrases are YouTube’s.

Permalink for this paragraph 0 [12] For an overview of the ethical issues facing those doing internet research see: Elizabeth Basset and Kathleen O’Riordan, “Ethics of Internet Research: Contesting the Human Subjects Research Model,” Ethics and Information Technology 4 (2002): 233-247; Amy Bruckman, Ethical Guidelines for Research Online (April 4, 2002): http://www.cc.gatech.edu/~asb/ethics; Elizabeth Buchanan, Readings in Virtual Research Ethics: Issues and Controversies (Hershey, PA: Idea Group Inc, 2003); Charles Ess and Association of Internet Researchers (AoIR), Ethical Decision-Making and Internet Research: Recommendations from the AoIR Ethics Working Committee (November 27, 2002): http://www.aoir.org/reports/ethics.pdf; Heidi McKee and Dànielle Nicole DeVoss, Digital Writing Research: Technologies, Methodologies, and Ethical Issues (Cresskill, NJ: Hampton Press, 2007).

Permalink for this paragraph 0 [13] This language comes from the Office for Human Research Protections (OHRP), “Human Subjects Regulations Decision Charts” (September 24, 2004): http://www.hhs.gov/ohrp/humansubjects/guidance/decisioncharts.htm.

Permalink for this paragraph 0 [14] Heidi McKee and James E. Porter, “The Ethics of Digital Writing Research: A Rhetorical Approach,” College Composition and Communication 59 (2008): 711-749, esp. 732.

Permalink for this paragraph 0 [15] Susannah Stern, “Studying Adolescents Online: A Consideration of Ethical Issues,” in Readings in Virtual Research Ethics: Issues and Controversies, ed. Elizabeth Buchanan (Hershey, PA: Idea Group Inc, 2003), 274-287; Magdalena Bober, “Virtual Youth Research: An Exploration of Methodologies and Ethical Dilemmas from a British Perspective,” in Readings in Virtual Research Ethics: Issues and Controversies, ed. Elizabeth Buchanan (Hershey, PA: Idea Group Inc, 2003), 288-315.

Permalink for this paragraph 0 [16] Bober, “Virtual Youth Research,” 308.

Permalink for this paragraph 0 [17] See YouTube’s “A Word on Safety”: http://www.youtube.com/t/safety.

Permalink for this paragraph 0 [18] Sherry Turkle, Life on the Screen: Identity in the Age of the Internet (New York: Simon and Schuster, 1995), 261.

Permalink for this paragraph 0 [19] Nakamura, Digitizing Race, 35.

Permalink for this paragraph 0 [20] Nakamura, Digitizing Race, 34, 35.

Permalink for this paragraph 0 [21] Jerry Kang, “Cyber-Race,” Harvard Law Review 113 (2000): 1130-1208, esp. 1181.

Permalink for this paragraph 0 [22] See, for example, Jennifer González’s fascinating essay on constructing avatars: Jennifer González, “The Appended Subject: Race and Identity in Digital Assemblage,” in Race in Cyberspace, ed. Beth E. Kolko, Lisa Nakamura, and Gilbert Rodman (New York: Routledge, 2000), 27-50.

Permalink for this paragraph 0 [23] See, for example, Tim Rutten, “The Good Generation Gap: The Way that Young People Deal with Race is a Hopeful Sign for Our Politics,” Los Angeles Times (February 6, 2008).

Permalink for this paragraph 0 [24] Brendesha Tynes, Lindsay Reynolds, and Patricia Greenfield, “Adolescence, Race, and Ethnicity on the Internet: A Comparison of Discourse in Monitored vs. Unmonitored Chat Rooms,” Applied Developmental Psychology 25 (2004): 667-684, esp. 669.

Permalink for this paragraph 0 [25] Tynes, et al, “Adolescence, Race, and Ethnicity on the Internet,” 667, 672.

Permalink for this paragraph 0 [26] Tynes, et al, “Adolescence, Race, and Ethnicity on the Internet,” 675.

Permalink for this paragraph 0 [27] Sturgess, Shakespeare and the American Nation, 33.

Permalink for this paragraph 0 [28] While the video was posted in 2006, this comment was posted in 2008.

Permalink for this paragraph 0 [29] YouTube: comment posted in 2008.

Permalink for this paragraph 0 [30] YouTube: comment posted in 2008.

Permalink for this paragraph 0 [31] YouTube: comment posted in 2008.

Permalink for this paragraph 0 [32] At the time this essay is being written (August 2008), Christian Lander’s blog is one of the most popular in the nation: it has logged over 38 million hits to date. See: http://stuffwhitepeoplelike.com.

Permalink for this paragraph 0 [33] Christian Lander, “Stuff White People Like: Coldplay,” Vanity Fair/VF Daily (June 16, 2008): http://www.vanityfair.com.

Permalink for this paragraph 0 [34] For a fascinating article on the racial differences between the Romans and Goths see: Francesca Royster, “‘White-Limed Walls’: Whiteness and Gothic Extremism in Titus Andronicus,” Shakespeare Quarterly 51 (2000): 432-455.

Permalink for this paragraph 0 [35] Othello, dir. Oliver Parker, perf. Laurence Fishburne and Irène Jacob (Castle Rock Entertainment, 1995). For Fishburne’s views on his relationship with Shakespeare see, Harry J. Lennix and Laurence Fishburne, “Two Actors on Shakespeare, Race, and Performance: A Conversation between Harry J. Lennix and Laurence Fishburne,” Shakespeare Bulletin 27.3 (2009): 399-414.

Permalink for this paragraph 0 [36] Titus, dir. Julie Taymor, perf. Anthony Hopkins, Jessica Lange, and Harry J. Lennix (Fox Searchlight Productions, 1999). For an interesting take on Lennix’s “gestural” performance of race in Titus see, Margo Hendricks, “Gestures of Performance: Rethinking Race in Contemporary Shakespeare,” in Colorblind Shakespeare: New Perspectives on Race and Performance, ed. Ayanna Thompson (New York: Routledge, 2006), 187-203.

Permalink for this paragraph 0 [37] For a discussion of the “linguistic miscegenation” that Aaron threatens in Titus Andronicus see, Ayanna Thompson, Performing Race and Torture on the Early Modern Stage (New York: Routledge, 2008), esp. chapter 3.

Permalink for this paragraph 0 [38] Geto Boys, “Damn it Feels Good to be a Gangsta,” Uncut Dope: Geto Boys’ Best (Virgin Records, 1992).

Permalink for this paragraph 0 [39] Judith Butler, Bodies that Matter: On the Discursive Limits of “Sex” (New York: Routledge, 1993); Susan Gubar, Racechanges: White Skin, Black Face in American Culture (Oxford: Oxford UP, 1997); E. Patrick Johnson, Appropriating Blackness: Performance and the Politics of Authenticity (Durham: Duke UP, 2003); and Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (Oxford: Oxford UP, 1993).

Permalink for this paragraph 0 [40] Reservoir Dogs, dir. Quentin Tarantino, perf. Harvey Keitel, Michael Madsen, and Steve Buscemi (Miramax Films, 1992).

Permalink for this paragraph 0 [41] Office Space, dir. Mike Judge, perf. Ron Livingston and Jennifer Aniston (Twentieth Century Fox, 1999).

Permalink for this paragraph 0 [42] Geto Boys, “Damn it Feels Good to be a Gangsta.”

Permalink for this paragraph 0 [43] Jackie Brown, dir. Quentin Tarantino, perf. Pam Grier, Samuel L. Jackson, and Robert Forster (Miramax Films, 1997); Joe Bosso and Frank Renzulli, “A Hit is a Hit,” The Sopranos, season 1, episode 10 (HBO, 1999); “De Niro and 50 Now That’s Gangster The Hollywood Issue,” Vibe Magazine (March 2008).

Permalink for this paragraph 0 [44] Nakamura, Digitizing Race, 184.

Permalink for this paragraph 0 [45] YouTube: comment posted in 2008.

Permalink for this paragraph 0 [46] Although it is clear that the performance is unified (i.e., it is all performed and shot in one day), it was actually posted as two separate postings on YouTube with the labels “Part 1/2” and “Part 2/2.” Because of the unity of the performance, I treat it as one.

Permalink for this paragraph 0 [47] The video actually has subtitles throughout. The dialogue is quoted from the subtitles.

Permalink for this paragraph 0 [48] Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, CT: Wesleyan UP, 1994), 5.

Permalink for this paragraph 0 [49] Susan A. Phillips, “Physical Graffiti West: African American Gang Walks and Semiotic Practice,” in Migrations of Gesture, ed. by Carrie Noland and Sally Ann Ness (Minneapolis: U of Minnesota P, 2008), 31-68, esp. 62.

Permalink for this paragraph 0 [50] YouTube: comment posted in 2007.

Permalink for this paragraph 0 [51] YouTube: comment posted in 2007.

Permalink for this paragraph 0 [52] Lisa Nakamura, Cybertypes: Race, Ethnicity, and Identity on the Internet (New York: Routledge, 2002), 13-14.

Permalink for this paragraph 0 [53] YouTube: comment posted in 2007.

Permalink for this paragraph 0 [54] YouTube: comments posted in 2007, 2007, 2007, 2008, 2008, 2007, 2007, and 2008, respectively.

Permalink for this paragraph 0 [55] YouTube: comment posted 2008.

Permalink for this paragraph 0 [56] The sexualized responses to the female student’s portrayal of Desdemona, of course, attempt to reinscribe that pornographic element, but this video does not include them in any way.

Permalink for this paragraph 0 [57] Reservoir Dogs, dir. Quentin Tarantino; Pulp Fiction, dir. Quentin Tarantino, perf. John Travolta, Samuel L. Jackson, and Bruce Willis (Miramax Films, 1994).

Permalink for this paragraph 0 [58] Eminem, “You Don’t Know,” Eminem Presents the Re-Up (Shady Records, 2006).

Permalink for this paragraph 0 [59] The beginning of the video includes a long written prologue about Othello and their “modern day” approach. YouTube: video posted 2007.

Permalink for this paragraph 0 [60] Although it is clear that the performance is unified (i.e., it is all performed and shot in one day), it was actually posted as two separate postings on YouTube with the labels “1/2” and “2/2.” Because of the unity of the performance, I treat it as one.

Permalink for this paragraph 0 [61] East Clubbers, “It’s a Dream” (2004 single).

Permalink for this paragraph 0 [62] Once Upon a Time in China (Wong Fei Hung), dir. Hark Tsui, perf. Jet Li and Rosamund Kwan (Golden Harvest Company, 1991).

Permalink for this paragraph 0 [63] Peggy O’Brien, “‘And Gladly Teach’: Books, Articles, and a Bibliography on the Teaching of Shakespeare,” Shakespeare Quarterly 46 (1995): 165-172, esp. 167.

Permalink for this paragraph 0 [64] O’Brien, “‘And Gladly Teach,’” 168.

Permalink for this paragraph 0 [65] Crowl, “‘Ocular Proof’: Teaching Othello in Performance,” 162.

Permalink for this paragraph 0 [66] Leila Christenbury, “Problems with Othello in the High School Classroom,” in Teaching Shakespeare into the Twenty-First Century, ed. Ronald E. Salomone and James E. Davis (Athens: Ohio UP, 1997), 182-190, esp. 183.

Permalink for this paragraph 0 [67] Louisa Foulke Newlin and Mary Winslow Poole, “Othello,” in Shakespeare Set Free: Teaching Twelfth Night and Othello, ed. Peggy O’Brien (New York: Washington Square P, 1995), 133-213, esp. 133.

Permalink for this paragraph 0 [68] Husna Choudhury, “Othello: What is the Position of Race in a Multicultural English Classroom?” Changing English 14 (2007): 187-200.

Permalink for this paragraph 0 [69] Elise Marks, “‘Othello/Me’: Racial Drag and the Pleasures of Boundary-Crossing with Othello,” Comparative Drama 35 (2001): 101-123, esp. 101.

Permalink for this paragraph 0 [70] Miranda Johnson-Haddad, “Teaching Othello through Performance Choices,” in Approaches to Teaching Shakespeare’s Othello, eds. Peter Erickson and Maurice Hunt (New York: The Modern Language Association of America, 2005), 156-161, esp. 157.

Permalink for this paragraph 0 [71] Johnson-Haddad, “Teaching Othello through Performance Choices,” 160.

Permalink for this paragraph 0 [72] Newlin and Poole, “Othello,” 189.

Permalink for this paragraph 0 [73] David Bevington and Gavin Witt, “Working in Workshops,” in Teaching Shakespeare Through Performance, ed. Milla Cozart Riggio (New York: The Modern Language Association of America, 1999), 169-183, esp. 170.

Permalink for this paragraph 0 [74] Hugh Macrea Richmond, “The Audience’s Role in Othello,” in Othello: New Critical Essays, ed. Philip C. Kolin (New York: Routledge, 2002), 89-101, esp. 94-95.

Permalink for this paragraph 0 [75] Karin deGravelles, “You Be Othello: Identification and Boundary in the Classroom,” Pedagogy 11.1 (forthcoming 2011).

Permalink for this paragraph 0 [76] Ayanna Thompson, “Practicing a Theory/Theorizing a Practice: An Introduction to Shakespearean Colorblind Casting,” in Colorblind Shakespeare: New Perspectives on Race and Performance, ed. Ayanna Thompson (New York: Routledge, 2006), 1-24, esp. 11.

Permalink for this paragraph 0 [77] Othello, dir. Stuart Burge, perf. Laurence Olivier (BHE Films, 1965).

Permalink for this paragraph 0 [78] YouTube: all three comments posted in 2008.