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Audience Reception of Yoruba Films

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·2 4 JAN. 1996 • ·D5 U~.03 Fr~-( ~5G4 AUDIENCE RECEP~ION OF YORUBA FILMS: IBADAN AS A CASE STUDY BY DUROTOYE ADEOLU ADELEKE BA (Hons) ED.Yoruba, (UNILAG) Lagos MA Ibadan A thesis in theA - LIBRARY DEPARTMENT OF LINGUISTICS ANDI AFRICAN LANGUAGES Submitted to the Faculty of Arts in partial fulfilment of the requirements for the Degree of CODESRDOCTOR OF PHILOSOPHY of the UNIVERSITY OF IBADAN APRIL, 1995 r. ' -- ., -,/ .... _ --- ) UNIVERSITY OF IBADAN • I \ l .,l / J THIS THESIS SUBMITTED BY \· ... .. P.:i:_: •• ~.1.}?:~F.?.t<?X.~ ..~~~?.~~-·-·····" WAS ACCEPTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE j' DEGREE OF DOCTOR OF PHILOSOPHY. i IN THE ~ACULTY OFLIBRARY ARTS OF THIS UNIVERSITY- THE EFFECTIVE DATE OF THE AWARD IS \. ................ 1... A~~ ...... J~.~.?.: .................. .. ~/.!!~:-~ ........ ~&~~~!tw~:~~~~o·:~ POSTGRADUATE SCHOOL, CODESRIAUNIVERSITY CF IBADAN. , . ii ABSTRACT Much critical work has been done on the theatre producer and the theatre product. The theatre audience has not received adequate attention from literary critics. In this work, therefore, attention is focused on the audience, the consumer of the theatre product. We attempt "· to ascertain the influence of socio-demographic variables on reception by the audience of film products. The theoretical background is hinged on theories of ' communication9 namely, mass communication, literary communication, and reader's response. Reception theory is dependent on other disciplines, viz;LIBRARY history, hermeneutics, and structuralism. The- dialectical relationship between reception theory and these other disciplines has helped to_illuminate horizons of expectatio1:1-s of film audiences. The linear nature of the film medium with its inherent impatience, constitutes a constraint on reception. Our data derive from respondents' .reaction to u bilingual interviewCODESRIA schedule. Our secondary sources are radio and television programmes and advertisements, This study shows that audience response to the film product is mainly guided by the physiology­ sociology-psychology (PSP) of the individual members. ''. iii The PSP of the individual members, therefore, accounts for the variation in reception of a film. The work '• shows that the Yoruba film audience is mainly dominated by males, youths and literate members of the: community. among others. The study further shows that the Yoruba film audience is critical of issues :t;·hat contravene Yoruba values and behavioural pattern·. The Yoruba audience seems to h~ve a distaste for morbid themes and issues that are inimical and risgu~ (especially bawdy-house literature). Audience interest seems to transcend mere emotional thrill.LIBRARY The audience, on the other hand, appears- to adore· \ a number of film-stars, who attract them to film houses. The phenomenon of star-aystem thus holds among Yoruba film-goers. For the first time, we are able to know the reaction of the audience, otherwise the consumer, to the theatre product to complement the literary critic's appraisal. With this, the filmCODESRIA producer should be able to design films for the audience of bis choice. " iv DEDICATED TO ABIQDUN, my wife and LIBRARY to the memory of my Late -Uncle MR STEPHEN QMQTQl;JQ FQLAYAN CODESRIA V ACKNOWLEDGEMENTS Gen:erally, a study of this· nature emerges as a result of some valuable' suggestions, support and advice from well-meaning individuals 'and institutions. Already, I have acknowledged ·my indebtedness to different sources which provide most of the background materials for discussion·.· It now remains to thank those who have contributed, to this work in its various drafts. Though many individuals have been of considerable'assistance to me, ' it is impossible to mention all of them;LIBRARY I say thank you to everybody. However, I have to- mention'some individuals by name~,, I wish to register my g:i;eatest indebtedness to Professor Qlatunde .0 iilatunJi of the Department of Linguist:!,.cs and African Languages, University of Ibadan. He meticulously carried out normal but onerous duties of a supervisor. He also made available to me some of his textbooks. Not to talk of the liberal access he granted me bothCODESRIA at his residence and his office. He actually made my study a rewarding experience through l!>.is constructive criticism.' May gracious God bless him and his family. '' vi I also express nry appreciation to the Council for Development of Economic., and Social Research in Africa (CODESRIA) for providing me with a grant for writing this thesis• without which it would have· taken me 1·ar more time to complete the work. The institution also purchased relevant textbooks for the study. I should not forget to acknowledge the initial support of the University of Ibadan, Ibadan, for the Teaching Assistan­ ship award in its General Studies Programme, GES 102• before CODESRIA financial assistance. I owe m;f thanks to the Head of DepartmentLIBRARY of Linguistics and African Languages, -Professor BO Elugbe• for words of encouragements and for his leadership style. I should not :forget to mention two other 1iast Acting Heads of Department, Dr DK O Owolabi, who wrote the letter of introduction to the film managers in the cinema houses, and Dr E O Olukoju for his genuine interest in the progress of this study. I am alsoCODESRIA indebted to all my lecturers in the Departm(f:o.t of Linguistics and African Languages, University of Ibadan• Ibadan; Professor (Emeritus) AyQ Bamgbo~e (NNMA), Dr Afqlabi i;llab9de (now on sabbatical " vii in far away Japan) with whom I discussed the theoretical framework on which the study hinges; even, he assisted in getting some valuable reference materials for this work; Dr PA Ogundeji for suggesting the 'application of ,., reception theory.and for reading parts .of the drafts; and most especially Dr SO Oyetade, who spared time to go through the questionnaires and the work in its entirety~ and gave useful suggestions. I thank everybody in the.Department of Linguistics and African Languages, both Academic and Non~Academic staff.· My gratitude goes·to the followingLIBRARY for some valuable suggestions at the preliminary stage- of this study: Dr Tony Obilade, Professor Niyi Qijundare; Professor F~mi Q~9.fisan · and Dr Jide Malqmq-~ I am greatly indebted to Dr Lanre Bamidele of Department of Theatre Arra, University of Ibadan, for ti.is invaluable' assistance with regard to his suggestion : '. as to relevant source material to consult and bis willingness ··to CODESRIArelease his textbooks for use. In .fact he was my 'path-finder' in the study·. He made some important changes leading to the final thesis. ( I also thank my GES (102) supervisors, Pro~ Dapq Adelugba and Dr Egbe Ifie for granting me the indulgence .,' - viii to go for data collection when I could be otherwise engaged for the course. I wish to acknowledge the , support of my former colleagues in GES (102), Dr Simon Adem9la Ajayi (History), and Dr (Mrs) Hope Amolo (nee Okezie). I appreciate the moral support of Prof Qmqniyi Adewqye, the Head of Department of History, University of .Ibadan, Ibadan·: He ceaselessly geared me on in the study. I am indebted to several friends for the encourage- ment and support: Mr Tunji Qpadcitun (St Andrew's College' .. LIBRARY ! ' of Education, Qy9), Dr (Mrs)· i~misi- Adebqwale (Ondo ' State University,·-Ad6 Ekiti),-·MzsMoni Aw~, Mrs Funmi ' ' ' Oyedun, Mrs K·~mi Qmg°ni;ti; Mr Daycf'Qj~y-~mi, Mr I I Bql9m9pe, Mr Sunmade Akinrinade (alr formerly at Oke-Badan · High School, Ibadan), and most especially Chief (Mrs) Bglanle Ayqka QmQ.tara, ·.who all.owed me to use her car on several occasions, iand Mrs S Funmilay9 i;log~k~· (SOFALAY) for her hospitality~ CODESRIA I am also grateful to all friends and colleagues at the Federal College of Education 1 0~.:!'~l~, Ab~okuta for their unflinched support and coop~ration. · ' ''. '. ix To all my relations and family both paternal and . maternal, I sincerely appreciate your pieces of advice especially Messrs Moses Fq'iayan and Dok~n Oyedara (my uncles)~ I also thank my parents for their constant prayers·and moral support: Mr Shittu Adeyi Adeleke and Mrs Titilayq Ay9ka Adeleke. I owe IJ!Y thanks to my mother in-law, Chief (Mrs) Elizabeth Ibiy~mi Ade~ina for taking care of _my children when·the study was on. I wish to commend my wife and children for demonstrating such a deep sense of understandingLIBRARY and forbearance for having to leave them- at home regularly while collecting the data for this study. Abiqdun, my wife, took over the care of the children and home. She has always been my inspiration and .. support since all these years. I am therefore much indebted to Abiq.dun without whose.constant support and encouragement it would have been ' difficult to do the work. I acknowledge the peace of ·mindCODESRIA given·to me by my children: BQ~~de, Oluy~ini, Desqla, Dekunmi and Depeju. For converting my s.crible into elegant typescript 1 I thank my friend Mr Kelim Ql~nloa. X Finally, I give glory to God in the highest for seeing me through the programme. Adeleke, D A • LIBRARY - : '· CODESRIA '. xi CERTIFICATION .• I ce~tify that this work was carried out by Durotoye Adeolu ADELEKE in the Department of Linguistics and African Languages, University of Ibadan, Ibadan. LIBRARY - ---~~~-=---+~~'SUPERV'ISOR Qlatunde O Qlatunji, BA Pb D (Ibadan), Dip Th Professor of Yoruba Literature Department of Linguistics and African Languages, CODESRIAUniversity_of Ibadan, Ibadan. xii TABLE OF CONTENTS Page Title •• • • • • • • • • i Abstract •• • 0 0 • • • • • ii Dedication •
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