Unique Idiosyncratic Style in Túndé Kèlání's Movies
Keywords:
aesthetics, films, idiosyncrasies, movies, stylisticsAbstract
Idiosyncrasy denotes a peculiar or unusual characteristic or mannerism that is unique to an individual or a group. Diverse works from a sociological and cultural point of view have been conducted on Kèlání’s films but they have not been seen from the stylistic point of view. This study examines style and idiosyncratic ability in Túndé Kèlání’s movies viewing them as idiosyncratic uniqueness. We critically explore three of Túndé Kèlání’s movies, Dazzling Mirage, White Handkerchief and The Narrow Path, which constitute our source of data for this paper. The selected films are subjected to tenets from Wilson and Sperber’s (1986) Relevance Theory. It was understood from the study that, cultural renaissance and globalisation of Yorùbá culture, mass awareness and conservationism vs progressivism are the cogent styles that distinguish this director from other film makers. He hardly embarks on movies without the traits of public awareness and sensitisation as central focal points. This study recommends juxtaposition of more of Kèlání’s traits and styles with other African film writers so as to ensure that society as well as individual are sensitised better while being entertained by the movies. It is also established in this study that style goes beyond examining the phono-aesthetic or photo-aesthetic tropes.
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