Ọ̀rúnmìlà Epistemic Reproduction: Nigerian Film-Philosophy via Divinity and Orality

This article concerns the idea that film philosophy and adaptation share a root in divinity and orality that is unraveled through the mysteries of Ôrúnmila (the Yorúbá god of divination, knowledge, and wisdom). In this essay, I discuss film philosophy, in the Nigerian context, by examining Half of a...

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Bibliographic Details
Published in:Black camera : the newsletter of the Black Film Center/Archives 2022-04, Vol.13 (2), p.53-68
Main Author: Bello, Asaheed Adesumbo
Format: Article
Language:English
Subjects:
African cinema
Bandele-Thomas, Biyi (1967-2022)
Consciousness
Culture
Epistemology
Film adaptations
Influence
Knowledge
Motion picture directors & producers
Mysteries
Narratives
Novels
Oral tradition
Pan-Africanism
Philosophy
Yoruba language
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Summary:This article concerns the idea that film philosophy and adaptation share a root in divinity and orality that is unraveled through the mysteries of Ôrúnmila (the Yorúbá god of divination, knowledge, and wisdom). In this essay, I discuss film philosophy, in the Nigerian context, by examining Half of a Yellow Sun (dir. Biyi Bandele, 2013, Nigeria and United Kingdom), a film adaptation of Chimamanda Adichies novel of the same title, through the philosophical lens of Ôrúnmila epistemic reproduction. In the film, I argue that the knowledge of Yorúbá/Ôrúnmila representational philosophy in Bandeles consciousness is employed in advancing a national agenda and thus deviates from Adichies emphasis on Igbo cause in her novel. Given the example of Bandele, a Yoruba writer and filmmaker, this article argues that some art creators are inspired by their worldview. It develops a new take on film philosophy and adaptation via orality and divinity and establishes the ancient Ôrúnmila epistemic reproduction as an alternative framework for film philosophy and adaptation in Africa and beyond.
ISSN:1536-3155
1947-4237
DOI:10.2979/blackcamera.13.2.03