ABSTRACT
This research has been an appraisal of African Cultural aesthetics in Kunle Afolayan’s films. Film is not a recent phenomenon, its existence has been to serve diverse purpose in our society ranging from instigating the people, cultural showcase, promotion, and preservation of the culture of a group of people etc. Kunle Afolayan’s films omugwo: 2017, the tribunal:2017, the bridge:2017, hanatu:2017, roti: 2017, the ceo: 2016, october 1:2014, dazzling mirage:2014, phone swap:2012, the figurine:2009, irapada:2006, saworoide:1999.all have cultural underpinnings that characterize them as movies with Traditional Cultural Aesthetics. This research has carefully x-rayed the concept of film, the concept and growth of nollywood as Nigeria’s film industry, The concept of culture, the concept of aesthetics, and African cultural aesthetics in the literature review section. Also the research further explored the synthesis of traditional cultural aesthetics in African Films,then to African Oral Traditions and Films, African traditional theatre forms and film in Africa. The fourth chapter was dedicated to the overhauling of Kunle Afolayan and his experimentation in the Movies October 1 and The Figurine: Araromire. In submission to the theoretical underpinnings of this research, the movie October 1 vividly captures the whole essence of cultural imperialism as exuded by Kunle Afolayan in the movie. Both movies studied in the research not just fall into the category of nollywood movies but a new generation of film makers term it new-nollywood movies. The hope for cultural aesthetic sustainance through film is still high as innovations are creeping into the Nigerian movie arena.
