Peeking Through the Opomulero Lens
Tunde Kelani's Women on Center Stage
Bibliographic Data
| ID | 9367290 |
|---|---|
| Authors | Giwa-Isekeije Giwa-Isekeije (corresponding author) |
| Year | 2013 |
| Volume | 7 |
| Issue | 1 |
| Pages | 98-98 |
| Publication date | 2013-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The Global South (JOURNAL) |
| Journal identifiers | ISSN: 1932-8648 • E-ISSN: 1932-8656 |
| Publisher | Indiana University Press (PUBLISHER • US) |
| DOI | 10.2979/globalsouth.7.1.98 |
| OpenAlex | W2060838664 |
| Language | EN |
| Citations received | 6 |
| References cited | 8 |
This paper examines the representation of women in Tunde Kelani’s video films through an analysis of Ti Oluwa Ni Ile 1, Campus Queen, The Narrow Path, and Thunderbolt. I use Kelani’s films as a counterpoint to argue that women are not always essentialized in Nigerian video films. The paper also interrogates the revisioning of Nigeria’s colonial history and portrayal of modernity in Nigerian movies using third-world feminist and post-colonial theories. I develop an inductive typology introducing the five analytical categories of normative pre-colonial, dominant colonial, polemical post-colonial, pervasive neo-colonial, and persistent pseudo-colonial for examining the representation of women in the four video films
Archaeology · Colonialism · Counterpoint · Media studies · Modernity · Normative · Political science · Politics · Representation (politics · Sociology · Typology · African history and culture studies · Anthropology · Cinema and Media Studies · Gender Studies · History · Law · South Asian Cinema and Culture
| Citations per year | 0.46 |
|---|---|
| Citation span | 2013 - 2025 (13) |
| Highly cited | No |