L’oralité dans les films Yorùbá : Une étude de films d’Akínwùmí Iṣọ̀lá
DOI :
https://doi.org/10.17159/tl.v60i3.14418Mots-clés :
culture orale, préservation, intertextualité, Akínwùmí Ìṣọ̀lá, filmRésumé
Malgré les innovations technologiques, l’oralité constitue toujours l’un des éléments esthétiques des nouveaux médias, tels que les films vidéo, en raison de l’interface permanente entre l’oralité et la tradition de l’alphabétisation. En utilisant l’intertextualité comme approche, j’examine dans cet article l’oralité dans certains films de l’Akínwùmí Ìṣọ̀lá, afin de montrer comment il utilise les arts verbaux comme un outil puissant pour la transmission des valeurs culturelles. Les films sélectionnés sont Saworoidẹ (1999), Agogo Èèwọ̀ (2002) et Ẹfúnṣetán Aníwúrà (2005). Ces films ont été sélectionnés pour les récits oraux qu’ils mettent en scène. Mes conclusions révèlent que les contes populaires, les légendes, les chansons, le corpus Ifá, les tambours, les incantations et les panégyriques sont les genres oraux Yorùbá qu’Akínwùmí Ìṣọ̀lá incorpore dans ses films. On peut déduire des films d’Ìṣọ̀lá qu’il y a un chevauchement entre sa culture orale et son travail créatif, car la culture est la force active qui dynamise et conduit le travail créatif. Je conclus qu’Ìṣọ̀lá utilise son ingéniosité créative pour réveiller et préserver la tradition orale Yorùbá dans ses films, ce qui souligne le fait que la littérature orale a une vitalité continue pour la société contemporaine.
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