Abstract
AbstractIn this interview with the Nigerian filmmaker, Tunde Kelani, film scholar Tunde Onikoyi explores the universe of Kelani’s cinematic vision, particularly as it relates to Thunderbolt (2002) and Dazzling Mirage (2014). Although produced twelve years apart, what binds them is a common humanitarian narrative temperament. Onikoyi and Kelani discuss his films in broader terms, exploring literary references, Kelani’s interest in health, and how cinema convey his creative tendencies. The interlocutors investigate the effects of “magun,” male chauvinism, and patriarchal idiosyncrasies in contemporary Nigeria. Kelani shares his filmmaking vision, and reflects on the future of Nigerian cinema in framing African story-telling.
Publisher
Cambridge University Press (CUP)
Subject
Anthropology,Cultural Studies
Reference41 articles.
1. Irreducible Africanness and the Auteur Theory: Re-reading Kelani’s Political and Committed Movies;Onikoyi;Journal of Pan-African Studies,2016c
2. October 1, dir. Kunle Afolayan (review);Onikoyi;African Studies Review,2016d
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