The fourth function of Yoruba language video film is the kernel of this paper because it examines the language attitude and linguistic pattern of the actors and actresses, the directors, the producers and the veterans of the video films in the Yoruba film industry. The Yoruba children have developed unbridled interest in home videos and through the holistic use of Yoruba language, these children have informal education in the intricacies of the language for communicative competence. By broad classification, such attitudes or reactions are either negative or positive. In the process, these children become linguistically confused in the use of the two languages English and Yoruba. The mixture of languages can be used in a film for the following reasons: The video films in the Yoruba nationality are also expected to be an instrument of education for the masses and the elites.
Babajide, ; Iwara, ; Egbokhare, ; Adegbite, have discussed the evolutionary trends of the English language in Nigeria and the problematics of attitude of Nigerians towards the use of English and Yoruba languages for communicative purposes. The video films are expected to help in the language development of individuals through the exposure to the intricacies of Yoruba language in the dialogue of the characters. In the Yoruba film industry, the expected indigenous language is Yoruba. With the sociological and sociolinguistic evidences at our disposal, these children are not at fault. These three axis of Yoruba theatre drew their performance from Biblical stories as in the case of Hubert Ogunde , Yoruba history and myth as in the case of Duro Ladipo and adaptation of Christian morality play as in the case of Kola Ogunmola. The transition of the Alarinjo theatre tradition from the stage to the contemporary video film is systematic and dramatic. Abipa was instrumental to the development of theatre tradition in the whole of Yoruba land.
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The Yoruba children have developed unbridled interest in home videos and through the holistic use of Yoruba language, these children have informal movvie in the intricacies of the language for communicative competence. Adegbite, Adewale Bandele A reaction or attitude of any kind is believed to be dependent on, and informed by, a number of factors – historical, political, economic, ethnic, educational or religious.
These stages are diagrammatically presented below: With the identification of the phenomena, the paper recommends that there should be training for the film makers on the need for the holistic use of Yoruba language in their films, there should be a proper film policy that will encourage the use of indigenous languages in arknnakore movies produced in the country and that there should media advocacy on the need to promote indigenous languages in the movei.
The utilitarian functions of the Yoruba-language video film among the natives are given below: Through the proper use srinnakore the Yoruba language in video films, children, adolescents and adults will benefit from the use of language aesthetics such as proverbs, figurative expressions, idiomatic expressions, innuendos, etc.
A Festschrift in Honour of Ayo Banjo. The dominant yrouba in the linguistic ecology of the Yoruba nationality is the use of English language for communicative purposes in the formal and informal contexts.
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Various researches have shown that the foundation of what is known today as the Yoruba film industry is placed on the vibrant theatre tradition that the Yoruba nationality was noted with see Adedeji, and ; Obafemi, ; Ogundeji and ; Raji-Oyelade, Olorunyomi and Ladipo, ; Ogunbiyi, ; Clark, ; Sesan, ; Jeyifo, and Gumuncio- Dagron, Thespians and Cineastes as Engineers of the Nigerian Soul.
Considering the popularity of the film medium, it is expected to help yyoruba the propagation of indigenous languages and culture through plot, dialogue, costuming and characterization. Sesan, Azeez Akinwumi The paper concludes that the challenges of language in the Yoruba film industry can be redressed with proactive film policy that will enforce the film idiom that will hinge on sustainable and positive use of indigenous language.
For instance, Babajide Africa through the Eye of the Video Camera. This attitude is an extension of the linguistic problem of the contemporary Nigerian society. The lessons ufll after an exposure to a video film are meant to educate individuals about how to live a meaningful life in harmony with others.
Remember me on this computer. The linguistic confusion, as observed above by Sesan, is reflected in the way these children use the Yoruba language and the English language with some level of incompetence in the linguistic codes of the two languages. The fact still remains that indigenous languages have not been favoured in the linguistic ecology of Nigeria owing to the ascendancy of English as the language of wider communication LWC.
The situation of linguistic confusion and disharmony in inter-personal and inter-ethnic communication has been avoided with the use of English as the language of inter-personal and inter-cultural interactions. The truth of the language attitude in Nigeria and the Yoruba nationality in particular is the preference for the use of English in communicative engagements. There should be media advocacy on the necessity for the promotion and preservation of indigenous languages e.
It is however quite unfortunate that most producers are mindless of the linguistic significance of their films to the development and sustenance of their indigenous language. The view of Fyll, as given above, explains the sociology and psychology of attitude formation in any human society. Thus, the criticism and the analysis of the films coming out from the Yoruba axis should include thematic pre-occupation, audience factor, technicality and the film idiom, with the inclusion of language aesthetics.
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Ogunleye, Foluke Matilda This is done not to achieve any aesthetic and ethical values. Among the observed reasons for the quality production of Mainframe Television and Film Productions is the engagement of professional and seasoned script writers and artists such as Professor Akinwumi Isola, Chief Adebayo Faleti, Late Larinde Akinleye, Lere Paimo and other advocates of cultural nationalism and revivalism.
University of Ibadan unpublished Ph. The critic has omitted the significant contributions of radio and television in the making of the contemporary Yoruba film artistes.
One of the basic problems affecting the development of Yoruba language and other indigenous languages is the attitude.
University of Ibadan Unpublished M. Each of these stages has its own strength yoruuba weakness that have impacted on the arinnzkore and cultural essence of the contemporary Yoruba film industry. Before the utilisation of the resources of cinema, Yoruba artistes of Alarinjo tradition have experimented with the resources of radio through audio cassette and record to give the oral performance of their plays to the audience.