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Mediating identity through orality in West African films adapted from literature

This work critically examines the complexity of the ways by which filmmakers are mediating oral tradition forms as secondary orality in West African Films. The study aims to show that filmmakers mediate orality as an aesthetic source. The goal is to examine the value of the oral narrative on the scr...

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Main Author: Chibogu, Kenechukwu
Other Authors: Modisane, Litheko
Format: Thesis
Language:Eng
Published: Centre for Film and Media Studies 2024
Subjects:
Film Studies
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access_status_str Open Access
author Chibogu, Kenechukwu
author2 Modisane, Litheko
author_browse Chibogu, Kenechukwu
Modisane, Litheko
author_facet Modisane, Litheko
Chibogu, Kenechukwu
author_sort Chibogu, Kenechukwu
collection Thesis
description This work critically examines the complexity of the ways by which filmmakers are mediating oral tradition forms as secondary orality in West African Films. The study aims to show that filmmakers mediate orality as an aesthetic source. The goal is to examine the value of the oral narrative on the screen. To study the oral qualities of the literature in the audio-visual primarily because of its aesthetic and stylistic feature in the narrative by interrogating the oral aestheticsin African films. To analyze the mediation of oral tradition in films, I combine orality theory, adaptation theory, and postcolonial theory to develop a model that treats film theoretically as ‘secondary orality adaptation (SOA)', which is interpreted using textual analysis in films such as Xala (1975), Karmen Gei (2001) and Invasion 1897 (2014). In the process, the study has explicitly engaged the aesthetic value of ‘orality' within the ambit of film studies thatrecognizes its wide reach and filmmakers' mediation and agency in the construction of identityusing the audio-visual method. The study finds that each mediation process involving oral tradition forms in West African films adapted from literature adds to the understanding of howfilm functions as a secondary orality adaptation. Whereas some filmmakers endorse cultural practices, others promote protest and contestation metaphorically using filmic codes (aural narratives) that are understandable to audiences and employ language as orality to construct identity in contemporary African postcolonial societies.
format Thesis
id oai:open.uct.ac.za:11427/39318
institution University of Cape Town (South Africa)
language Eng
last_indexed 2026-06-10T12:32:56.154Z
license_str Not specified — see source repository
provenance_str_mv Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository
publishDate 2024
publishDateRange 2024
publishDateSort 2024
publisher Centre for Film and Media Studies
publisherStr Centre for Film and Media Studies
record_format dspace
source_str UCTD — University of Cape Town Open Access Repository
spelling oai:open.uct.ac.za:11427/39318 Mediating identity through orality in West African films adapted from literature Chibogu, Kenechukwu Modisane, Litheko Film Studies This work critically examines the complexity of the ways by which filmmakers are mediating oral tradition forms as secondary orality in West African Films. The study aims to show that filmmakers mediate orality as an aesthetic source. The goal is to examine the value of the oral narrative on the screen. To study the oral qualities of the literature in the audio-visual primarily because of its aesthetic and stylistic feature in the narrative by interrogating the oral aestheticsin African films. To analyze the mediation of oral tradition in films, I combine orality theory, adaptation theory, and postcolonial theory to develop a model that treats film theoretically as ‘secondary orality adaptation (SOA)', which is interpreted using textual analysis in films such as Xala (1975), Karmen Gei (2001) and Invasion 1897 (2014). In the process, the study has explicitly engaged the aesthetic value of ‘orality' within the ambit of film studies thatrecognizes its wide reach and filmmakers' mediation and agency in the construction of identityusing the audio-visual method. The study finds that each mediation process involving oral tradition forms in West African films adapted from literature adds to the understanding of howfilm functions as a secondary orality adaptation. Whereas some filmmakers endorse cultural practices, others promote protest and contestation metaphorically using filmic codes (aural narratives) that are understandable to audiences and employ language as orality to construct identity in contemporary African postcolonial societies. 2024-04-04T12:13:31Z 2024-04-04T12:13:31Z 2023 2024-04-04T11:13:41Z Thesis / Dissertation Doctoral PhD http://hdl.handle.net/11427/39318 Eng application/pdf Centre for Film and Media Studies Faculty of Humanities
spellingShingle Film Studies
Chibogu, Kenechukwu
Mediating identity through orality in West African films adapted from literature
thesis_degree_str Doctoral
title Mediating identity through orality in West African films adapted from literature
title_full Mediating identity through orality in West African films adapted from literature
title_fullStr Mediating identity through orality in West African films adapted from literature
title_full_unstemmed Mediating identity through orality in West African films adapted from literature
title_short Mediating identity through orality in West African films adapted from literature
title_sort mediating identity through orality in west african films adapted from literature
topic Film Studies
url http://hdl.handle.net/11427/39318
work_keys_str_mv AT chibogukenechukwu mediatingidentitythroughoralityinwestafricanfilmsadaptedfromliterature

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