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Beginning from an auteur standpoint, this book interrogates extant cinematic re-presentation of African and Nigerian postcolonial realities in Nollywood. It makes a case, using Kunle Afolayan's The Figurine, for a critical space-clearing gesture around the notion of a neo-Nollywood, which transcends the formulaic cinematic re-presentation of African and Nigeriam realities to embrace a visionary and philosophic rearticualtion of the role of filmmaking, and of Nollywood, in the Nigerian imagination. The Idea of neo-Nollywood, and a visionary director, therefore stands at the core of a cinematic production process that challenges, disturbs and stimulates perceptions of current and future African identities.
Trends in Nollywood: A Study of Selected Genres is a welcome addition to the growing body of works on the Nigerian cinema. It is part film history and part film theory and criticism. The history part traces the origin of the Nigerian cinema up to the present era of video productions. The work examines in detail, the contextual issues which have helped to define emergent trends within the industry.
A concern for social regeneration stands as the factor that animates Soyinka's life-long involvement in social and political activism, leading to hid incarceration for two years during the civil war, and his having to flee into exile during the period of Sani Abacha's dictatorship. Soyinka expresses this same concern for social regeneration in his writings, using difference metaphors. The focus of this work lies in the exploration of the articulations of social regeneration in the works of Wole Soyinka. The first past focuses on the dramatic works, and the argument of the author is that the metaphor adopted by Africa's foremost playwright in articulating his vision of social regeneration is that of ritual. Attention shifts in part two to Soyinka's two novels; and here, Bello goes to the roots of Yoruba metaphysics to fetch a metaphor which describes a creature with contradictory personality; which at once is committed to the regeneration of the social order while at the same time retaining a vindictive, vengeful nature.
Esiaba Irobi (1960-2010) was one of Africa's most innovative and productive younger playwrights. Deeply rooted in the indigenous performance traditions of his Igbo ethnic group, Irobi's drama, in the tradition of Wole Soyinka, is a hybrid production involving an iconoclastic reconceptualisation of the heritage he appropriates, its fascinating conflation with other performance traditions, and their projection onto the arena of contemporary Nigerian politics. This study by Isidore Diala is the first book-length examination of Irobi's work. It portrays a highly creative individual who was literally driven by the creative urge. The five chapters of this study illuminate different aspects of Irobi's oeuvre and include a vivid portrayal of Irobi the actor in his dream role of Elesin Oba, the eponymous King's Horseman in Wole Soyinka's drama. Diala highlight's Irobi's fascination for African festivals, which feature prominently in the earlier plays.He also demonstrates that although he is rooted in his Igbo culture, Irobi draws on different ethnic groups, pointing to conceptions of pan-Africanism that include the wAfrican diaspora.
King of the Jungle
(2014)
In King of the Jungle, the bouts of ethno-religious violence in Jos are fused with the heartbreaking story of two brothers who go through life unaware of each other's existence. Carefully crafted with local colour which evokes memories of pre-2001 Jos, Bizuum Yadok's first novel weaves humour, urban realism, tragedy and redemption.
So Bright a Darkness
(2014)
Okafor ran wildly through the jungle, the phantom captain and his ghoulish platoon in hot pursuit. The faster he ran the more they gained on him. The earth suddenly became marshy and slippery under his feet, impeding speed and balance. He came to an intersection where the jungle paths crossed and saw a mound of earth about four feet high. Just beyond the mound stood a giant Iroko tree. Intuitively, he knew that if he jumped over the mound and quickly climbed up the tree, the ghostly captain and his soldiers would lose him. Eons merge in interstellar whirls. Realism, science fiction and fantasy fuse to drive this drama of transition, cross civilisation and self-discovery.
Blood Lines and other Plays
(2014)
Chris Anyokwu's new creative offerings are snapshots of a the quotidian reality in the playwrights homeland, Nigeria, where polygamy and its associated evils, crass materialism and its classless followers still predominate. Even the ivory towers are not left out as petty rivalry, dirty politics and even fetishism seem to be the name of the game.
Death and the King's Grey Hair and Other Plays is a collection of three plays, 'Death and the King's Grey Hair, ' 'Truce with the Devil, ' and 'Fringe Benefits, ' which are all experimental plays from the early period of the writing career of Denja Abdullahi, who is presently renowned as a poet of populist expressions. 'Death and the King's Grey Hair' examines the use and misuse of absolute power based on an ancient Jukun myth of young kings and short reigns. 'Truce with the Devil' is a satire on the later abandonment of the creed of Marxism by its adherents, a kind of mockery of turncoat revolutionaries in the grip of practical social realities. 'Fringe Benefits', a radio play, is an expose of the happening in Nigeria's ivory towers, seen from the eyes of a participant-observer.
Orisa Ibeji
(2014)
Ahmed Yerima's play celebrates the phenomenon of twins among the Yoruba people. Orisa Ibeji is also about man's fear of death and love of life; destiny and reincarnation; and the place of the gods in human affairs. Yerima employs simple and beautiful language, dynamic characters and deft skill to navigate the labyrinth that is Orisa Ibeji.