| Sumario: | Túndé Kèlání is one of the godfathers of contemporary Nigerian cinema. While the historical continuity of Nigerian filmmaking is sometimes lost, Kèlání is one of the very few Nigerian film professionals to have been centre stage in all three phases of Nigerian media transformations in the twentieth century: first state broadcasting and TV productions, then celluloid cinema, and finally video film production. In works like I aworo Id i (Kelani [6]) and I Agogo Eewo i (Kelani [7]), Kèlání's genius is dramatized in the localization of his theses within familiar Yorùbá narrative terrains, while successfully speaking to Nigerian and African postcolonial imaginaries. Where tradition and modernity mix linguistically, allowing for the melange of multilingualism in productions like I Àb ní i (Kelani [8]), and I Arugbá i (Kelani [10]), discerning viewers are not in doubt about the primacy of Yorùbá epistemic template in the implementation of the narrative and filmic inquiry. (Fasan [4], 283) In English productions like I The Narrow Path i (Kelani [9]), I Dazzling Mirage i (Kelani [12]) and the linguistically mixed I Màámi i , Kèlání does not fail to underscore the fact of the centrality of the Yorùbá world and consciousness in his attempt to grapple with the challenges of the times.
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