Emotional Tears and Racial Stigma in Orson Welles's Othello and Vishal Bhardwaj's Omkara
Bibliographic Data
| ID | 21833524 |
|---|---|
| Authors | Lalita Pandit Hogan (0009-0008-4162-1176, corresponding author) |
| Year | 2024 |
| Volume | 18 |
| Issue | 1 |
| Pages | 53-72 |
| Publication date | 2024-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Projections (JOURNAL) |
| Journal identifiers | ISSN: 1934-9688 • E-ISSN: 1934-9696 |
| Publisher | Berghahn Books (PUBLISHER • GB) |
| DOI | 10.3167/proj.2024.180104 |
| OpenAlex | W4401325642 |
| Language | EN |
| References cited | 5 |
On the basis of two film adaptations of Shakespeare's Othello , Orson Welles's (1952/1955) Othello and Vishal Bhardwaj's Omkara (2006), this article focuses on Othello's emotional tears, and how they mitigate, or not, the effects of racial stigmatization. The “Othello dilemma,” as I call it, refers to how Othello continues to be understood as an example of his race, rather than as an individual. How do the two films deal with this dilemma? This article draws on current research in cognitive neuroscience to underscore the pro-social function of emotional tears. Both films avoid direct views of Othello's tears but evoke lachrymal emotion to produce broader interpretations of the play, which is relevant to contemporary concerns. In black and white, Orson Welles uses Soviet montage to depict Othello's loneliness, which authenticates his grief, while Vishal Bhardwaj's colorful Bollywood film shifts attention to stigmatization on account of gender bias, invoking an array of culture-specific norms and values
Art · Psychiatry · Tears · Cinema and Media Studies · Medicine · Psychology · South Asian Cinema and Culture · Theatre and Performance Studies · Surgery
| Highly cited | No |
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