Exploring Intertextuality in Ethiopian Amharic cinema: A Postmodern Perspective

Abstract

This study seeks to examine intertextuality in Ethiopian Amharic cinema, concentrating on two films: "Ethél" (2013) by Zelalem Neged and "Wuha ɨna Werq" (Water and Gold) (2011) by Mohammed Ali. It examines the insufficient investigation of intertextuality in Ethiopian Amharic film and emphasises the neglected application of postmodernism as a perspective in this domain. The chosen films embody postmodernist themes and employ intertextuality as a characteristic of postmodernist literature. The research employs a descriptive qualitative methodology, highlighting intertextuality as a defining feature of postmodernist literature in the selected films. It utilises intertextuality theories presented by Kristeva, Barthes, and Genette. The study meticulously analyses the films' content, identifies occurrences of intertextuality, and evaluates their relevance within a postmodern context. The results demonstrate significant utilisation of intertextuality in the films to create a universal cinematic language and communicate themes and concepts. The films draw from various materials, exemplifying adaptation, reinterpretation, and rethinking of poetry, history, mythology, and the Bible. This borrowing results in hybridity or plurality of meaning as filmmakers integrate their own concepts with those derived from imitation literature. Intertextuality is evident in story, conversation, as well as in the visual, aural, and technical aspects of filmmaking. In summary, the examination of "Ethél" and "Wuha ɨna Werq" illustrates how intertextuality constructs a complex network of references, allusions, and reinterpretations, enhancing a universal cinematic lexicon.