Abstract
This essay argues that, when screen media such as television, film, and digital video appropriate and remediate Othello, they do so through intermediality: the simultaneous and self-conscious communication of information and experiences through multiple material and sensory modes. Using Dmitri Buchowetski’s silent version, Orson Welles’s feature film, Geoffrey Sax’s British movie, and Zaib Shaikh’s television films, Ready Set Go Theatre’s web-series, and the National Theatre Live streamed performances as case-histories, the chapter investigates ‘race’ itself as a communicative medium. It concludes that screens ‘screen’ Othello in two senses: they magnify suffering, breathing, human bodies in front of us even as they shelter us from the lived truth of race in the world.
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