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Thesis restricted to private study or non-commercial research: rights hold on reuse beyond short quotation.\n\nLimitations: Article and thesis read 2026-10-22; scholarly interpretation, not production records.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://open.uct.ac.za/bitstreams/bec43b92-7ee7-4a80-861d-a1261497b8f3/download","note":"[producer working copy; not public] sha256 3166d361150c0557 (equal to pin S19); pdftotext lines 54, 220, 936-937, 1520"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://open.uct.ac.za/bitstreams/bec43b92-7ee7-4a80-861d-a1261497b8f3/download","claim":"A 2022 University of Cape Town PhD thesis reviews scholarship that likens West African filmmakers to griots and proposes a model of how filmmakers mediate oral tradition, analysed through three films chosen because they adapt literature drawn from oral tradition (Xala, Karmen Gei, Invasion 1897). 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