Apart from these genres that were common in the repertoire of these three axis of Yoruba theatre, there were also some plays that were satirical and poignant of the social stratification between the minority black population and the majority black population that was common in the colonial period of the country. It is the position of the paper that film has come as the popular medium of entertainment, education and social concretization. The paper draws examples, references and illustrations from the Yoruba language users, particularly in the medium of film that are used for analysis and discussion. By broad classification, such attitudes or reactions are either negative or positive. Humans are differentiated from other animals by the ability to communicate meaningfully with mutually intelligible linguistic codes. This is connected to the fact the paper examines the state of Yoruba film industry and the attitude of the practitioners to the use of their indigenous language Yoruba. University of Ibadan unpublished Ph. 
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Cultural Heritage and Social Vision. By broad classification, such attitudes or reactions are either negative or positive. The problem begins from home and it is later compounded by the society.
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Covenant Journal of Language Studies, Arinnqkore. This failure is as a result of too much premium that has been placed on profit making at the production of a video film. One of the basic problems affecting the development of Yoruba language and other indigenous languages is the attitude.
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ARINNAKORE 2-2
These arinnakpre are diagrammatically presented below: Linguists and language experts e. Help Center Find new research papers in: The truth of the language attitude in Nigeria and the Yoruba nationality in particular is the preference for the use of English in communicative engagements.
Yoruba film moive of Alarinjo tradition advanced their medium of performance with the coming of television. The video films in the Yoruba nationality are also expected to be an instrument of education for the masses and the elites. The society is characterised by linguistic pluralism, like the entire Nigerian society, as evident in the use of indigenous language Yorubathe English language, pidgin and other foreign languages. The expectation of critics of Yoruba film is that the medium should impact meaningfully on cultural propagation and the promotion of Yoruba language yorubba the Yoruba youths and adolescents.
Every man or every group of people reacts in quite different ways to different things, ideas, events, etc.
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For vibrant and sustainable yorubw profile of Yoruba films, the following recommendations are made: Click here to sign up. Code-switching and code-mixing of Yoruba and English languages should be done in a movie to achieve certain aesthetic and ethical effects. The video films are expected to help in the language development of individuals through the exposure to the intricacies of Yoruba language in the dialogue of the characters.
You're using an out-of-date version of Internet Explorer. Each of these stages has its own strength and weakness that have impacted on the sociological and cultural essence of the contemporary Yoruba film industry.
A reaction or attitude of any kind is believed to be dependent on, and informed by, a number of factors - historical, political, economic, ethnic, educational or religious. Sesan, Azeez Akinwumi a.
Considering the significance of language in socio-human and global arrangement, it can be said that it is a universal phenomenon that is used to control and influence the eco-linguistic sphere arinnnakore individuals and a group of people.
The Making of Nigerian Theatre. This paper explores the linguistic factor in the Yoruba film industry with consideration for the sociological and sociolinguistic factors such as the elitist nature of the Yoruba film audience and the general attitudinal problems of Nigerians to the indigenous languages and culture. The linguistic confusion, as observed above by Sesan, is reflected in the way these children use the Yoruba language and the English language with some level of incompetence in the linguistic codes of the two languages.
Thunder god on Stage. The transition of the Alarinjo theatre tradition from the stage to the contemporary video film is systematic and dramatic.
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The phenomena of code-switching and code-mixing in Yoruba- language video films yorubz identified and discussed. This is done not to yoruha any aesthetic and ethical values. Adegbite, Adewale Bandele The consideration of the developmental trends of the Yoruba film industry establish the fact that issues on theatre tradition cannot be divorced from the evolution of the contemporary Yoruba film industry. Oyin Ogunba and Abiola Irele.
And, at times, an attitude can be a product of an unexplainable phobia or love for a given phenomenon.
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