Abstract
Most commentators on African cinema would agree with the judgment of Nwachukwu Frank Ukadike on the centrality of the oral tradition to African films: since the inception of African cinema oral tradition has formed the basis of its cultural and aesthetic grounding.' The medium of film, which can reproduce the oral and visual dimensions of the performance of a traditional African storyteller or griot, seems to lend itself to the continuation of an oral tradition that is considered by many to contain the essence of African pre-colonial culture. As Andre Gardier and Pierre Haffner have explained, the African tradition of oral transmission (la parole) contributes to the specificity of African cinema and articulates the connection between this art turned
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