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The concept of film adaptation is not alien to Hollywood and Bollywood; in fact both film industries have long embraced the lucrative concept. For clarity, film adaptation is not limited to books literary and non-literary , it includes remakes of films, historical sources, news, articles. Literature, particularly the prose genre novels happens to be the common source of adaptation. Besides original works, a good number of home videos during the video boom era were adaptations, in this case, remakes of Hollywood films.

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The concept of film adaptation is not alien to Hollywood and Bollywood; in fact both film industries have long embraced the lucrative concept. For clarity, film adaptation is not limited to books literary and non-literary , it includes remakes of films, historical sources, news, articles.

Literature, particularly the prose genre novels happens to be the common source of adaptation. Besides original works, a good number of home videos during the video boom era were adaptations, in this case, remakes of Hollywood films. The first novel in the Yoruba language was in by Isaac B.

Also D. Aluko, Christopher Okigbo, John Pepper Clark, Cyprian Ekwensi, all first generation writers from s to 60s, addressed African problems and redefined Nigerian literature. The film industry had also budded with film exhibitors eagerly screening foreign films to the Nigerian audience. The Yoruba travelling theatre Alarinjo theatre with the likes of Hubert Ogunde soon realized the potential filmmaking presented, as opposed to only stage performances, and subsequently adapted plays to films.

This industry is largely influenced by Hausa literature. Radio programmes broadcast readings of manuscripts and books. Authors Associations, Clubs and Readers Associations emerged to strengthen the reading base.

And thus, many book-to-screen adaptations have been produced in Kannywood alongside remakes of Bollywood movies. Home videos were a combination of original works and churned out remakes of Hollywood movies. The resurgence of modern cinemas in the country in the new millennium has seen the production bar being raised, but in comparison to original works, film adaptations continue to take the back stage. Literary adaptations besides Kannywood and other film adaptation sources, remain at a minimal level in Nollywood.

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Daniel Olorumfemi Fagunwa

Daniel Orowole, later Olorunfemi Fagunwa, was born to a family of Christian pioneers in Okeigbo, in present day Ondo State, in , Aderinsoye Ologbenla, an Ooni elect who had reigned in Ile-Ife for eight years and continued in this capacity until his death in , was a scion of the Giesi ruling house, Ile-Ife. Okeigbo is a hilly and thickly forested environment. Daniel Olorunfemi Fagunwa, attended St. He then trained as a teacher of St. It was in Oyo that his writing skill blossomed, most especially in folk philosophy, which draws heavily on folk tale traditions, including supernatural elements,gnomes, witches, wizards and Yoruba hunters who were usually his heroes.

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Akin Ogungbe

Vudozshura They arrive at the physi-cal location Langbodo and bring back to their home-land many goodies from the far away land. You can follow any responses to this entry through the RSS 2. The series oniibudo off in with the production of D. Post was not sent — check your email addresses! Long Journey of Discovery and Sharing. He has to battle a wild cat in order to save his life. This site uses cookies.

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Daniel O. Fagunwa

Doshura To enlighten and entertain at once. Today her music is for the emancipation of the black man, not only from colour bar, but of the glorious abundance of life, wisdom, and riches deposited by God on the soil and airspace of the black continent. It is also a means of promoting our culture and re-orientating Nigerians to the values that we hold dear. Notify me of new posts via email. What a rare collection! Three hours or so of dance and drama may be quite hard on the backsides. Watching each play was like watching a differentbut similar account.

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Ìtàn Mánigbàgbé: Diipọ Fagunwa ní a le è pe bàbá òun ní ‘osó’ ìtàn àkọsílẹ̀

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