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Slammin' Shakespeare In Acc(id)ents Yet Unknown: Liveness, Cinem(edi)a, and Racial Dis-integration

DESPITE A MARKED INTEREST IN SHAKESPEARE and race in the 1990s, critics of Shakespeare, race, and film, on the one hand, and critics of black film and blacks in white film, on the other, have been blind to one another's work. Shakespeare critics interested in race have largely ignored the citation and appropriation of Shakespeare in black films and other mass media. By contrast, critics writing on race, cinema, and popular culture have completely ignored the history of black actors either in Shakespeare films or in films and related mass media that cite Shakespeare in racially marked contexts.1 I want to interrogate this mutual blindness by examining a number of relatively marginal films and television programs involving Shakespeare and race that largely have been neglected by Shakespeareans and (black) critics of black film, film history, and popular culture. My aim is not only to fill a missing gap in Shakespeare and black film criticism but also to show that such materials invite theorizing Shakespeare, race, and film in terms of "cinem(edi)a," by which I mean the circulation of all kinds of mass media in film (and vice versa). I maintain that racial signifiers in filmed Shakespeare and other mass media need to be examined in relation to mediatization, which Fredric Jameson defines as"the process whereby the traditional fine arts . .. come to consciousness of themselves as various media within a mediatic sys-