Chapter 14
“In fair [Europe], where we lay our scene”
Romeo and Juliet, Europe and digital cultures
This chapter explores several iterations of Romeo and Juliet in (European) digital cultures. Europe is placed in brackets here to capture how, in a digital context, boundaries may and may not apply, but also to complicate critical debate surrounding European Shakespeares. To what extent might we encounter a distinctly European Romeo and Juliet in digital cultures? Our field must think critically about the kind of European narratives, mythographies and values that are mobilised through Shakespeares in Europe. Travel and surfing are deployed as metaphors in order to track Europe’s Romeo and Juliets, with the resulting findings in the digital Wunderkabinett regarded as a function of both human selection and algorithmically determined search. While the focus is primarily on YouTube, what emerges is a deep sense of Romeo and Juliet’s convergence with popular culture, news stories and contemporary discourse about integration within Europe. In digital cultures, the chapter suggests, Romeo and Juliet is a metalanguage for conflict, boundaries and difference.
Keywords: algorithms, digital cultures, Europe, flags, integration, migration, news, popular culture, race,
Romeo and Juliet
, Shakespeare, tags, Verona, YouTube
Article outline
- Introduction
- Travel: “In fair Verona”
- Wunderkabinett
- News: “Is thy news good, or bad? Answer to that”
-
Notes
-
References
References
Bassi, Shaul
2016a Shakespeare’s Italy and Italy’s Shakespeare. Place, “Race,” Politics. London: Palgrave.
Bassi, Shaul
2016b “
New Directions: The Names of the Rose: Romeo and Juliet in Italy.” In
Romeo and Juliet: A Critical Reader, edited by
Julia Reinhard Lupton, 177–198. London: Bloomsbury Arden Shakespeare. Kindle.
BatonikDuplo
2013 “
Duplo – Romeo i Julia.”
YouTube.
[URL]
Belleza, Sara
2015 “
Italy Vlog #4 – Verona: Juliet’s Balcony & Wall!”
YouTube.
[URL]
Bennett, Susan
1997 Theatre Audiences. A Theory of Production and Reception. Second edition. London: Routledge.
Brandão, Carlos Antônio Leite
2016 “
Iconic Characters: Romeo and Juliet.” In
The Cambridge Guide to the Worlds of Shakespeare, edited by
Bruce R. Smith, vol. 2, 1327–1329. Cambridge: Cambridge University Press.
British Pathé
2014a “
Living Paintings Romeo and Juliet (1924).”
YouTube.
[URL]
British Pathé
2014b “
Shakespeare’s Birthday (1938).”
YouTube.
[URL]
British Pathé
2014c “
Shakespeare’s 400th Anniversary (1964).”
YouTube.
[URL]
Brown, Mark
2016 “
All the World’s a Stage: Shakespeare’s Globe Takes Hamlet to Calais.”
The Guardian.
[URL]
Burnett, Mark Thornton, Adrian Streete, and Ramona Wray
eds. 2011 The Edinburgh Companion to Shakespeare and the Arts. Edinburgh: Edinburgh University Press.
Burnett, Mark Thornton, and Ramona Wray
eds. 2006 Screening Shakespeare in the Twenty-First Century. Edinburgh: Edinburgh University Press.
Calvo, Clara, and Ton Hoenselaars
2008 “
Introduction: European Shakespeare – Quo Vadis?” In
The Shakespeare International Yearbook: European Shakespeares, edited by
Ton Hoenselaars and
Clara Calvo, 3–14. Aldershot: Ashgate.
Cartelli, Thomas, and Katherine Rowe
2007 New Wave Shakespeare on Screen. London: Polity.
Cat Music
2015 “
Like Chocolate – Romeo si Julieta.”
YouTube.
[URL]
Cavecchi, Mariacristina
2016 “
Romeo and Juliet 2.1: ‘But soft, what light through yonder window breaks?’” In
The Cambridge Guide to the Worlds of Shakespeare, edited by
Bruce R. Smith, vol. 2, 1129–1136. Cambridge: Cambridge University Press.
Channel of Doom
2008 “
The Duel w/ English subtitles.”
YouTube.
[URL]
D4M1R2
2012 “
Sarajevo Romeo and Juliet.”
YouTube.
[URL]
Dal Molin, Marcello
2016 “
Romeo and Juliet | Verona, IT.”
YouTube.
[URL]
Delabastita, Dirk
2016 “
Translation.” In
The Cambridge Guide to the Worlds of Shakespeare, edited by
Bruce R. Smith, vol. 2, 1339–1352. Cambridge: Cambridge University Press.
Elsaesser, Thomas
2009 “
Tales of Epiphany and Entropy: Around the World in Eighty Clicks.” In
The YouTube Reader, edited by
Pelle Snickars and
Patrick Vonderau, 166–186. Stockholm: National Library of Sweden.
EuropeanaEU’s channel
2012 “
Linked Open Data.”
YouTube.
[URL]
Eves, Derral
2015 “
How to Properly Tag Your YouTube Videos.”
YouTube.
[URL]
Frecerro, Carla
2011 “
Romeo and Juliet Love Death.” In
Shakesqueer: A Queer Companion to the Complete Works of Shakespeare, edited by
Madhavi Menon, 302–308. Durham, NC: Duke University Press.
Garber, Marjorie
2009 Shakespeare and Modern Culture. New York: Anchor.
Gillespie, Tarleton
2016 “
Algorithms.” In
Digital Keywords, edited by
Ben Peters, 18–30. Princeton: Princeton University Press.
González, José Manuel
2012 “
Nothing like the Sun: Shakespeare in Spain Today.”
Multicultural Shakespeares 9 (24): 34–52.
Hodgdon, Barbara
2010 “
(You)Tube Travel: The 9:59 to Dover Beach, Stopping at Fair Verona and Elsinore.”
Shakespeare Bulletin 28 (3): 313–330.
Hoskins, Andrew
2009 “
Digital Network Memory.” In
Mediation, Remediation, and the Dynamics of Cultural Memory, edited by
Astrid Erll and
Ann Rigney, 91–108. Berlin: De Gruyter.
Hunter, Isabel
2016 “
Teenage ‘Romeo and Juliet’ Split by Pope’s Refugee Rescue.”
[URL]
Jenkins, Henry, Sam Ford, and Joshua Green
2013 Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: New York University Press.
Lananna, Jose
2015 “
Romeo e Gieuletta – Film dell’anno 1911.”
YouTube.
[URL]
Lanier, Douglas
2007 “
Film Spin-offs and Citations.” In
Shakespeares after Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture. 2 vols, edited by
Richard Burt, 256–304. Westport, CT: Greenwood Press.
Lehmann, Courtney
2007 “
Film Adaptations.” In
Shakespeares after Shakespeare: An Encylopedia of the Bard in Mass Media and Popular Culture. 2 vols, edited by
Richard Burt, 74–131. Westport, CT: Greenwood Press.
Lentin, Alana
2008 “
Europe and the Silence about Race.”
European Journal of Social Theory 11 (4): 487–503.
Manovich, Lev
2001 The Language of New Media. Boston: MIT Press.
maxometer009
2007 “
David La Chapelle – Romeo and Juliet (H&M advertisement).”
YouTube.
[URL]
McDermott, Patrick D.
2016 “
Watch Mykki Blanco’s ‘High School Never Ends’ Music Video.”
The Fader.
[URL]
Minutella, Vincenza
2013 Reclaiming Romeo and Juliet. Italian Translations for Page, Stage and Screen. Amsterdam: Rodopi.
Morrison, Aimee
2014 “
Facebook and Coaxed Affordances.” In
Identity Technologies, edited by
Anna Poletti and
Julie Rak, 112–131. Madison, WI: University of Wisconsin Press.
NRT English
2015 “
Swiss Theatre Company Presents Romeo and Juliet at Syrian Refugee Camp in Iraq.”
YouTube.
[URL]
Orkin, Martin
2007 Local Shakespeares: Proximations and Power. London: Routledge.
Raun, Tobias
2012 “
DIY Therapy: Exploring Affective Self-Representations in Trans Video Blogs on YouTube.” In
Digital Cultures and the Politics of Emotion, edited by
Athina Karatzogianni and
Adi Kuntsman, 165–180. London: Palgrave.
Redondo, Milo
2015 “
Italians Cupping Juliet’s Shiny Breast – Europe: Verona Trip.”
YouTube.
[URL]
Schork, Kurt
1993 “
Sarajevo’s Romeo and Juliet.”
[URL]
Shakespeare Quote Generator
Syl, G.
2009 “
Les Rois du Monde.”
YouTube.
[URL]
Tagliaro, Alessandro
2016 “
The Cheek of Night – Abel Korzeniowski (arranged by Alessandro Tagliaro).”
YouTube.
[URL]
TheFader
2016 “
Mykki Blanco – ‘High School Never Ends’ (ft. Woodkid) (Official Music Video).”
YouTube.
[URL]
Thompson, Ayanna
2011 Passing Strange: Shakespeare, Race, and Contemporary America. Oxford: Oxford University Press.
Vega, Cesar
2010 “
Romeo y Julieta – Los Reyes del Mundo.”
YouTube.
[URL]
Watson, Nicola
2007 “
Shakespeare on the Tourist Trail.” In
The Cambridge Companion to Shakespeare and Popular Culture, edited by
Robert Shaughnessy, 199–226. Cambridge: Cambridge University Press.
Wildflowersfield
2007 “
Sacrifice (Romeo and Juliet Fan-Made Music Video).”
YouTube.
[URL]
Cited by
Cited by 1 other publications
Semple, Edel & Ema Vyroubalová
2018.
Shakespeare and Early Modern Europe: A Critical Survey.
Shakespeare 14:1
► pp. 80 ff.
This list is based on CrossRef data as of 22 march 2024. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers.
Any errors therein should be reported to them.