Authority and Moral Conflicts in the Films of Adébáyọ Fálétí: Àfọ̀njá, Gáà, Ṣawo Ṣẹ̀gbẹ̀rì and the Yorùbá Cosmopolis by Olayinka Agbetuyi

“…The three films also demonstrate what Stuart Hall considers to be the connection that cultural studies seeks to make to matters of power and cultural politics.3 With regards to the role of Fálétí as pioneer in the area of radio-vision cultural industries the broadcasting mogul narrated the manner in which he pioneered the phone-in radio broadcast in Nigeria on the programme “Ѐyí Àrà” at the Broadcasting Corporation of Ọyọ̀ ́ State, Ibadan (BCOS) after pioneering Yorùbá broadcasting on Africa’s first television station Western Nigeria Television (WNTV) twenty years earlier.4 Fálétí’s career spanning close to seven decades dovetails public services with private engagement with drama production. …”
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Ni sueño ni pesadilla: diversidad y paradojas en el proceso migratorio by Martha Cecilia Ruíz

“… Las generalizaciones, el drama y la tragedia caracterizan los discursos sobre la reciente migración de ecuatorianos y ecuatorianas hacia el exterior. …”
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A Survey of Audience Reception of Atọ́ka, A Yorubá Photoplay Magazine by Clement Adéníyi Akangbé

“…Extensive works have been done on Yorubá drama by several scholars. While some looked at specific theater companies, some studied the selected plays of particular companies, and some others examined the production of certain organizations at a particular phase. …”
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HAROLD PINTER: FROM POETICS TO POLITICS by Dilek İNAN

“…<p>Harold Pinter was giuen the Nobel Prize for Literatüre in 2005 for his contributions to British and contemporary drama. Pinter has been a theatrical institution for half a century, he has revolutionised his theatre fay being a conscientious objector in public and a political actiuist since the 1980s. …”
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