Introduction
This essay examines the core interpretations of race and identity in the 2018 film adaptation of Shakespeare’s *Othello* directed by David Oyelowo, titled *Othello: The Tragedy of the Moor*. Focusing on a contemporary retelling set in a British urban context, this adaptation reimagines the racial and cultural tensions inherent in Shakespeare’s original text through a modern lens. As a media studies student, I will explore how this film uses visual and narrative techniques to address race and identity, particularly in relation to Othello’s position as a Black man in a predominantly white society. The essay will first analyse the portrayal of racial otherness, then discuss identity construction through performance, and conclude by reflecting on the broader implications of these interpretations for contemporary audiences.
Portrayal of Racial Otherness
In *Othello: The Tragedy of the Moor*, the theme of racial otherness is foregrounded through both casting choices and mise-en-scène. David Oyelowo, a British-Nigerian actor, plays Othello, bringing authenticity to the character’s experience as a racial outsider. The film’s urban setting amplifies this dynamic, positioning Othello as a successful Black police officer in a predominantly white, institutionally racist environment. This adaptation mirrors Shakespeare’s original depiction of Othello as a Moor in Venetian society, where his race marks him as an outsider despite his achievements (Shakespeare, 1603). However, the modern context introduces additional layers of prejudice, such as microaggressions and systemic bias, which are subtly conveyed through dialogue and interactions with colleagues. For instance, Iago’s manipulation is framed through coded language that hints at racial stereotypes, reflecting how racism often operates insidiously in contemporary settings. This interpretation aligns with scholarly discussions on how Shakespearean adaptations can critique modern racial hierarchies (Smith, 2016).
Identity Construction through Performance
The film also explores identity through Othello’s performance of self in response to societal expectations. Oyelowo’s portrayal emphasises a duality in Othello’s character—publicly stoic and assimilated, yet privately burdened by the weight of racial scrutiny. This tension is evident in scenes where Othello code-switches, adopting a polished, formal tone with white colleagues while expressing vulnerability with Desdemona in private. Such choices resonate with theories of identity performance, where individuals navigate multiple selves to fit into dominant cultural spaces (Hall, 1996). Furthermore, the film’s use of close-up shots during Othello’s moments of doubt visually underscores his internal conflict, inviting audiences to empathise with his struggle. This adaptation, therefore, challenges simplistic readings of Othello as merely a tragic figure, instead presenting his identity as a complex negotiation influenced by race and societal pressure. Indeed, this nuanced depiction encourages viewers to reconsider how identity is shaped by external perceptions as much as internal realities.
Conclusion
In conclusion, *Othello: The Tragedy of the Moor* offers a compelling reinterpretation of race and identity by situating Shakespeare’s text within a modern British context. Through its focus on racial otherness and identity performance, the film highlights the enduring relevance of Othello’s struggles, particularly in relation to systemic racism and personal agency. These interpretations not only deepen our understanding of Shakespeare’s work but also prompt critical reflection on contemporary racial dynamics. Arguably, such adaptations play a vital role in media by bridging historical narratives with current social issues, fostering dialogue about identity in an increasingly diverse society. The implications of this are significant, as they challenge audiences to confront uncomfortable truths about prejudice and belonging in today’s world.
References
- Hall, S. (1996) Who Needs Identity? In: Hall, S. and du Gay, P. (eds.) *Questions of Cultural Identity*. Sage Publications.
- Shakespeare, W. (1603) *Othello, the Moor of Venice*. First Folio Edition.
- Smith, I. (2016) *Race and Rhetoric in the Renaissance: Barbarian Errors*. Palgrave Macmillan.
