Postmodern Features as Reflected in Selected Amharic Films

Aklog, Yalew

dc.contributor.author	Aklog, Yalew
dc.date.accessioned	2025-03-21T11:52:37Z
dc.date.available	2025-03-21T11:52:37Z
dc.date.issued	2025-01
dc.identifier.uri	http://ir.bdu.edu.et/handle/123456789/16673
dc.description.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.	en_US
dc.language.iso	en_US	en_US
dc.subject	English Language and Literature	en_US
dc.title	Postmodern Features as Reflected in Selected Amharic Films	en_US
dc.type	Dissartation	en_US