Abstract:
In this study, an effort has been made to analyze postmodern features through the lense of
postmodernism in selected Amharic films. The films chosen for this inquiry are Ethél (2013),
produced by Zelalem Neged, Wädähuala (Moving Back) (2013) directed by Muhamed Dawd
Sosətäñaw Ayin (The Third Eye) (2012), produced by Ermias Tadesse, Wuha ìna Werq (Water and
Gold) (2011) produced by Mehamed Ali, Yaräfädä Arada (Old Street Smart) (2014) produced by
Getahun Tulu,Man Yawət'aw? (Who shall speculate it out?) (2008) written and directed by Elias
Tesfaye, Wädäfit (Moving Forward) (2011) written and directed by Yonas Abraham and Yesilet
Lij (Votive Child) (2008) written and directed by Surafel Temtm. Qualitative research design is
employed to understand and interpret the selected films from a postmodern perspective. Through
thorough watching of the films, relevant excerpts are identified and critically analyzed using the
theoretical framework adapted from the postmodern literary theories of Julia Kristeva, Ronald
Barthes, Brian McHale, Linda Hutcheon, and Zamora and Faris. Intertextuality, magical realism,
irony, and playfulness are theoretical models for the analysis. The textual analysis serves as an
analytical framework for the study to explore the above-mentioned postmodern features in the
selected Amharic films.
The study's finding indicates that the selected Amharic films exhibit intertextuality as a prominent
postmodernist feature. The screenwriters of the movies chosen demonstrate their adherence to
existing intertexts, either explicitly or implicitly. In the selected films, the screenwriters show case
their connection to other fictional works such as the Holy Bible, history, mythology, and tradition
to unfold the narrative of their films. Such dependence on intertexts allows screenwriters to convey
multiple layers of meaning and create a complex relationship of ideas. Intertexts in the selected
films also invite the audiences to explore different interpretations and engage with the story on a
deeper level. Thus, while using intertexts in the films chosen scriptwriters express concepts in a
complex way and, inturn, it invites viewers to consider multiple interpretations and connect with
the films’ narrative on a deeper level.
The study's findings also reveal the presence of magical realism as another postmodern feature in
the selected films. Screenwriters in the chosen films use ghosts, supernatural forces, mytholog and
dreams to explore difficult subjects and feelings that go beyond the bounds of traditional narrative
development. In the selected films underinvestigation, magical realism indicates a unique
vi
viewpoint on the characters' experience, and it is a means to analyze and comprehend aspects of
the human experience in general, which includes mysticism, fortune, vocation, and the existence
of supernatural forces. In the selected Amharic films, irony as a rhetorical device is used to
communicate meaning that differs from what is being stated or expected to mean. The study
indicates that screenwriters use situational irony, dramatic irony, and verbal irony for narrative
and character development. The selected Amharic feature films also exhibit playfulness as a
postmodern feature, which includes humor and comedic effects. It is used to make social
commentary and subvert the conventional use of language in a relaxed manner.