PROFESSIONALISM AND ETHICS IN FILM PRODUCTION: A CRITIQUE
OF TECHNICAL AND AESTHETIC ELEMENTS IN SELECTED
NOLLYWOOD FILMS
BY
IKPELEMOH, SUNDAY EMMANUEL
(PG/MA/13/66579)
DEPARTMENT OF THEATRE AND FILM STUDIES
UNIVERSITY OF NIGERIA NSUKKA
DECEMBER, 2015
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TITLE PAGE
Professionalism and Ethics in Film Production: a Critique of Technical and Aesthetic
Elements in Selected Nollywood Films, being a research submitted to the Department of
Theatre and Film Studies, Faculty of Arts, University of Nigeria Nsukka, in partial fulfilment of the requirement for the award of the degree of Master of Arts
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CERTIFICATION
This is to certify that IKPELEMOH, Sunday Emmanuel, a postgraduate student of
Theatre and Film Studies with Registration number PG/MA/13/66579 has satisfactorily completed the requirements for both course and research works for Master of Arts Degree in Theatre and Film Studies, Faculty of Arts, University of Nigeria Nsukka. The work is original and has not, to the best of my knowledge, been submitted partially or in full for any
Degree of this or other universities.
______
DR. FELIX U. EGWUDA-UGBEDA DR. OYIBO EZE
(SUPERVISOR) (HEAD OF DEPARTMENT)
DATE: ______DATE: ______
______
PROF. JOHN S. ILLAH
(EXTERNAL EXAMINER)
DATE: ______
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DEDICATION
This work is dedicated to the one whose grace started and finished it – my father in heaven, the one to whom I owe gratitude for life and the successful completion of this work. Thank you
Lord. My late father, Pius Ikpelemoh who nurtured me with all that he had, diminishing in the process, for me to be the person that I am today also shares in this dedication, alongside my mother, Deaconess Felicia Ikpelemoh, and Raphael, my departed younger brother who called me Doctor up until he passed on. Raphael, I have just crossed another huddle in my pursuit to becoming the Doctor you always called me. When I do get my PhD, a place shall be provided for you in the dedication page. Thank you for believing in me and continue to rest in the bosom of the Lord.
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ACKNOWLEDGEMENTS
To God almighty I give all thanks and praise for the successful completion of this work.
His grace has been more than sufficient. Thank you almighty Father for helping me breast the tape of this challenging race.
My appreciation goes to my supervisor, Dr. Felix Egwuda who is largely responsible for the timely and successful completion of this work. Even when I failed to meet up with his expectations on the work, and occasionally get downbeat as a result, he always made sure to call me and help me get back on track. Whenever I needed his assistance he was always there for me. I had unlimited access to his books that I know are priceless to him. I am eternally grateful to you sir for the privileges I enjoyed from you.
My colleagues in the Department of English and Literary Studies, Federal University
Lokoja inspired me in so many different ways. It was Late Professor Joseph Sunday Aliyu who impressed it on me to enrol for this programme when I did. My joy would have been complete were he alive today to raise my hands like he promised he would do if I round off the programme within the stipulated two years. Baba, I am happy and proud that I have fulfilled this aspect of your numerous dreams and aspirations for me. Thank you for bringing me to
Federal University Lokoja. Thank you for believing in me. May the good Lord give you rest in paradise.
My boss, my teacher, my brother and friend, Professor Gbenga Ibileye (who is also my
Head of Department) has been a source of inspiration to me. ‘How far have you gone with your work?’ he would ask me time and again. In that question I found his true desire for me to grow and to excel on the job, and with it comes the motivation to do the things I had to do. I am eternally grateful for everything, sir.
James Iorliam Udaa is my brother from another parent. He is the closest colleague and the most reliable friend I have in Lokoja. His input and advice have helped to forge a
5 purposeful direction for the work. I owe a lot of gratitude to him for helping to solve some of my family challenges whenever I was away to Nsukkka, especially during the course work.
To my other colleagues in the Department, Dr. Abel Joseph who never stopped encouraging me; Mr. Jatto Abdulazeez from whose’ wealth of experience I learnt so much; Mr.
Peter Okpe whose commitment to his PhD programme always served as a challenge to me; and
Mr. Tosin Olagunju whose versatility I always admired, I say thanks for your contributions to this work directly or indirectly.
To Professor Emeka Nwabueze, Dr. Ifeanyi Ugwu, Dr. Ngozi Udengwu and Mr. Domba
Asomba who taught me during the course work, I say a big thank you for adding value to my life. You all have helped to mould me into a better academic and I am truly proud of you.
My wife and children were awesome. Whenever I returned to Lokoja from Nsukka and they snuggle around me, I get the push to want to put the work behind me so that I can always be there for them. The questions my senior son, Mystar always asked; the way his brother Gift always looked into my eyes; and the way the baby of the house, Emmanuella would fondle with my face gave me the feeling that I mean a lot to them. Thank God the sacrifices all of you have made have yielded result today.
Finally I want to acknowledge my mother, Deaconess Felicia Ikpelemoh whose love and prayer for me is constant; My brothers, Supol Simon Ikpelemoh (my ‘twin’ brother though two years older); Joseph Ikpelemoh (the one who does not know how to say ‘No’ to me); John
Ikpelemoh (whose smile and laughter I admire); Paschal Ikpelemoh (Mr. creative) Mathew
Ikpelemoh (whose love for academics is amazing) and my only sister, Bridget who I know prays for me always. I am grateful to all of you for being there for me.
Ikpelemoh, Sunday Emmanuel
December, 2015
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ABSTRACT
What is generally known today as Nollywood industry began around 1992 when Kenneth
Nnebue shot Living in Bondage. The industry has since passed through a series of revolution with recognisable growth in out put. Today it has grown to become the world’s second largest producer of films ahead of Hollywood, generating millions of Dollars to the Nation’s economy.
There is however the claim that the growth of the industry is not qualitative but quantitative.
The hijack of the industry by amateurs have been partly blamed for the poor quality out put of the movies. It is in this light that Udomisor and Opara Anayo said that despite Nollywood’s success in home videos and across films produced in Africa, more has to be done in terms of production, film content, quality and originality (9). Poor finances have also been blamed for the low quality out put of movies made in Nigeria. It is in response to the general poor rating and the feeling that the Nollywood industry is about amateurish practice that this research is embarked upon. The idea is to direct attention to the fact that in spite of these challenges,
Nollywood filmmakers still produce quality films. Three Nollywood movies have been selected for analysis to prove this. The films are The Figurine (2009), Phone Swap (2012) and Half of a
Yellow Sun (2013). The analysis is in the area of Camera manipulation, lighting and shadow, sound recording, continuity, acting, speech and costume and make-up. The research methodology relied on are the Historical research methodology, the Sociological methodology and the Artistic methodology. The preference for these research methodologies is their suitability for theatre and media researches.
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TABLE OF CONTENTS
Title page ------I
Certification ------II
Dedication ------III
Acknowledgements ------IV
Abstract ------VI
Table of Contents ------VII
CHAPTER ONE: GENERAL INTRODUCTION
1.0 Background to the Study 1
1.1 Statement of Problem 7
1.2 Research Question 9
1.3 Objective of the Study 9
1.4 Significance of the Study 12
1.5 Scope of the Study 13
1.6 Limitation of the Study 14
1.7 Research Methodology 15
1.7.1 Historical Research Methodology 15
1.7.2 The Sociological Research Methodology 16
1.7.3 The Artistic Research Methodology 17
CHAPTER TWO: REVIEW OF RELATED LITERATURE AND THEORETICAL FRAMEWORK
2.1 Preamble 18
2.2 Comparing the Film and the Video Mediums 18
2.3 Different Stages of the Film Production Process 22
2.3.1 The Pre Production Phase 22
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2.3.2 The Production Phase 24
2.3.3 The Post Production Phase 25
2.4 Film Ethics and Censorship 26
2.5 Film and Society 31
2.6 Professionalism 36
2.6.1 Professionalism in Film Production 37
2.7 Concept of Aesthetic in Film Production 40
2.8 Theoretical Framework of the Study 43
2.8.1 Formalist Theory 43
2. 8.2 Theory of Classicism or Classical Theory 44
2.8. 3 Theory of Auteurship or Auteur Theory 45
CHAPTER THREE: SYNOPSIS OF THE THREE FILMS
3.1 Preamble 46
3.2 Half of a Yellow Sun 46
3.3 The Figurine 49
3.4 Phone Swap 51
CHAPTER FOUR: CRITICAL REVIEW/ANALYSIS OF THE THREE SELECTED NOLLYWOOD MOVIES
4.1 Preamble 53
4.2 Mode of Analysis of the Selected Movies 54
4.3.1 Cinematography in Half of a Yellow Sun 55
4.3.2 Sound and Music in Half of a Yellow Sun 56
4.3.3 Lighting in Half of a Yellow Sun 58
4.3.4 Continuity in Half of a Yellow Sun 59
4.3.5 Costume and Make-up in Half of a Yellow Sun 63
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4.3.6 Speech/Dialogue in Half of a Yellow Sun 65
4.3.7 Acting in Half of a Yellow Sun 68
4.3.8 Ethical issues in Half of a Yellow Sun 70
4.4.1 Cinematography in The Figurine 71
4.4.2 Sound and music in The Figurine 72
4.4.3 Lighting in The Figurine 73
4.4.4 Continuity in The Figurine 75
4.4.5 Costume and Make-up in The Figurine 76
4.4.6 Speech in The Figurine 77
4.4.7 Speech/Dialogue in The Figurine 78
4.4.8 Ethical issues in The Figurine 78
4.5.1 Cinematography in Phone Swap 79
4.5 2 Sound and Music in Phone Swap 80
4.5.3 Lighting in Phone Swap 81
4.5.4 Speech/Dialogue in Phone Swap 82
4.5.5 Continuity in Phone Swap 82
4.5.6 Acting in Phone Swap 83
4.5.7 Ethical issues in Phone Swap 83
CHAPTER FIVE: SUMMARY AND CONCLUSION
5.1 Summary 85
5.2 Conclusion 86
5.3 Suggestions 87
Works cited 89
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CHAPTER ONE
GENERAL INTRODUCTION
1.0 Background
The process of film making can be cumbersome, the person who is involved not withstanding. To a novice or a professional, the complexities in film production are always there from preproduction stage (the scripting of the story, identifying the talents, assembling the crew and scheduling the shoot), through the production phase which entails camera and light manipulation, audio management and the actual shoot; to the post production stage of editing and special effects.
The process is all-absorbing and requires a good understanding of the workings of the different elements (technical and artistic) that overlap in the process of filmmaking. But it must be said that as cumbersome as this might be, the experience can be fascinating if the process is properly mastered.
Incidentally, many people with little or no formal training in the art and technique of filmmaking parade themselves as filmmakers. There is no doubt that some of them manage to produce a few movies here and there. And though they may be less- than-impressive in quality, the truth remains that many of such amateurs eventually quit for lack of creative and technical skill required to remain in the business of film production.
Filmmaking is arguably the most technical of all art forms. And as implicated earlier, it requires a broad based understanding of the art and technique of film production. In what can be described as a corroboratory statement to the above claim,
Bruce Mamer states that:
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In filmmaking, those who truly excel, whether as directors,
cinematographers, editors, or other skilled crew members are both
technically expert and creatively engaged. It…is counterproductive to
separate these qualities in any discussion of filmmaking (xii)
The above assertion is apt because broadly speaking, the tendency has always been to divide the skills of filmmakers into two - ‘creative’ and ‘technical’ and
Mamer’s position is to the effect that filmmakers who want to be successful must necessarily be professionals and this implies that such person(s) must have gone to a formal film training institution or have acquired enough skill through sustained apprenticeship over a period of time under a professional practitioner. Also commenting on professionalism as requisite for producing high quality film, Herbert
Zettl posits that:
You can no longer rely solely on instinct when framing a shot or
adding music to your video track but must acquire the knowledge
and the skill to select and apply on a regular basis those aesthetic
elements that translate significant ideas into maximally effective
messages (xxvii)
The import of Zettl’s comment to this study is tremendous. This is because there exists in Nollywood the challenge of activities of people merely driven by the desire to make quick money rather than professionalism. Since 1992 when Kenneth Nnebue shot what is generally agreed to be the first Nollywood movie, Living in Bondage many people, mostly amateurs have taken to film production in Nigeria. The result is that the industry is currently the world’s second largest producer of feature films, only behind
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Bollywood of India, suggesting that it is ahead of America’s Hollywood. It must be the influx of these amateurs into the industry that is responsible for the churning out of movies at such astonishing rate. It may also be said that the activities of these invaders have given the industry a not too impressive rating when compared to other film cultures across the globe.
Drawing from the comments made by both Zettl and Mamer towards successful filming, it may be understood that practice in the Nollywood industry is not entirely professional, and that if the industry were to make any impact, something drastic has to be done. Care must be taken not to misconstrue this to mean that Nollywood is all about amateurism and instinctive shots. The point has to be made that there are Nollywood movies that are not so bad in their output in spite of the low budget for most film shoots in Nigeria.
Though the post 1992 influx of non professionals into the industry may be partly responsible for some of the set backs that filmmaking in Nigeria have suffered today, the problem of the industry dates back to 1969 when the first documentary film,
One Nigeria was produced by Ola Balogun, a pioneer filmmaker in Nigeria. According to records, his effort at making good films was encumbered by all sorts of challenges ranging from the pecuniary to the technical. Similarly, it is on record that Kongi’s
Harvest, Nigeria’s first feature film suffered the same fate.
It is also said that Ola Balogun managed to continue producing films until after his production of Money Power (Owo l’agba) in 1982 when he bowed out as a result of what he termed ‘exasperation’ resulting from the challenges earlier mentioned.
The fact is that even though the first generation filmmakers in Nigeria belonged to the era of analogue technology, filmmakers were nonetheless required to parade a
13 good understanding of the techniques required to manipulate and get good output from the analogue equipment. Unfortunately such technical know-how may not have been plenteous thereby leading to the kind of exasperation that Ola Balogun claimed to have forced him out of practice in 1982. But since Nnebue’s effort in 1992, the industry has passed through a series of development. For instance Nollywood films that were initially shot, edited and released on CD and VCD are today released on DVD format for theatrical exhibition and home viewing. There is also a shift from the early period when Nollywood films were solely sponsored by Igbo traders with the Government setting up the Nollywood capacity building Fund called project ACT- Nollywood with a budget of N3billion. These and more has propelled the growth of the industry into a huge money making venture that has employed thousands of people and generates around $200 million gross to the nation’s economy.
As already pointed out, the industry is adjudged the second best producer of films in the world. This growth is captured in Oladunjoye’s observation that in the past, as a Nigerian, if you travel abroad, people would ask if you had brought food and spices from home, but today they ask if you have brought any Nigerian film. In spite of all the attention that Nollywood has attracted to itself there are those who believe that it is plagued with the problem of low quality production. This belief is expressed by Israel
Udomisor and Opara Anayo who argued that ‘Despite Nollywood success in home videos and across films produced in Africa, more has to be done in terms of production, film content, quality and originality’ (9)
On the other side of Udomisor and Opara Anayo’s thinking are those who are of the opinion that Nollywood ‘has arrived on the big stage’. Perhaps Nollywood can be said to have arrived on the big stage from the point of view of quantity and not quality of films that the industry produces, another group of thinkers would argue.
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Biodun Jeyifo, in an article titled’ what is right and what is wrong with
Nollywood?’ Wrote that ‘In terms of the technological and economic sources of its identity, Nollywood is actually a cottage industry that mistakes itself for a fully evolved, truly developed corporate or big business industry (11)
No matter the reservations that there might be to Jeyifo’s comment, it is weighty and suggests the need for attention to be turned to the creative, technical and aesthetic content of Nigerian made films. It also suggests the need to pay attention to pecuniary issues with a view to making it more competitive globally. In addition to such fears being expressed by the likes of Jeyifo, consumers make condemnable comments about
Nollywood movies. However these consumers’ little understanding of film production technique like camera manipulation, lighting, audio and other technical elements for film making. As a result, their opinions come to nothing. What they bring to the table are comments limited to issues like predictable plot arrangements, poor storylines and preponderance of diabolism, poor sub-titling and other commonly addressed issues.
It may be said that the poor standard of most Nollywood films is connected to poor finances and non professional (technical and creative) handling of the movies.
And these have far reaching consequences for the industry which has the potential to become world class if professionally managed.
In an article titled ‘The Context of Film Production in Nigeria: The Colonial
Heritage,’ Onokome Okome draws attention to the problems that beset filmmaking in
Nigeria, describing it as ‘nebulous’. He quoted Jonathan Haynes as saying that
Nollywood film production is artisanal in output and very sporadic. Similarly Samyn
Sophie talked about the problem of finance in Nollywood thus:
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Film financing in Nollywood is mainly an independent venture. Budgets
are small and largely derived from one’s own savings. But this is not the
only way of financing filmmaking in Nollywood. Often the marketer
pays for a film, and he or she gets the final cut and then distributes. In
this sense, it is best to say that Nollywood films are financed on an ad
hoc basis, which makes it lack the institutional structure that many film
cultures have in Europe, America and Asia (110).
It is instructive to draw attention to the fact that so far mention has been made of the film process, its challenges and what it requires to succeed. A careful look shows a recurring reference to the term ‘professional’ in relation to film production which is used in contrast to ‘amateur’, another term that has found repetition in the study so far.
What this implies is that professionalism is core to film production. Unfortunately the film industry in Nigeria is run by a long list of amateurs who have hijacked the industry. This sad development has given birth to a filmmaking tradition that may be considered escapist and mediocre when tested against acceptable standard practice.
The art and technology of film was imported to Nigeria through colonialism around 1903 with the underlying motive of aiding and perpetuating the ambition of the imperialists. As a result, the film images then were far from the socio-cultural realities of the people of Nigeria. The images were those of white people doing things in very unfamiliar environments, removing the film world from the local world leading to a situation where the film reality is considered by the indigenous people as unreal, different and distinct from life; a development that is dangerous to filmmaking in
Nigeria. And this danger can be seen in the way that Nigerians, even of the 21st century,
16 deal with the content of films produced in the country. To them, most film images that they see in Nollywood movies are not the same as the realities of their social life.
According to Asobele ‘Our colonial masters exhibited films that presented their culture, and their superiority. The colonial masters imported films to propagate their interests, and give a make believe that portrays their rule and authority as the best (1)
It is instructive to say that ‘amateur’, as used in this study, is not limited to that person that is not knowledgeable in the art of filmmaking. The term is used to include those who have trained in theatre awarding institutions but cannot lay claim to being professionals because they lack the practical know-how of filmmaking due to the design of their film studies curriculum in school. It also includes those who may be knowledgeable in film production but due to constraints like that of finance decide to abandon professionalism for amateurism.
It may be said that the film has the way of telling its story and that it takes trained professionals who are grounded in its technicality and creative requirement to produce good films. It will also not be wrong to infer that though these professionals may abound in Nigeria there are yet a large number of Nollywood movies makers who are faced with numerous challenges that have made it difficult for them to realise the optimum visual and aural qualities that come together in the film medium.
1.1 Statement of Problem
It has been established that Nollywood is in the business of large scale commercial film production. Looking back from when it all started in 1992, it will be observed that the industry is more than twenty years old. It has grown to become the second to India’s Bollywood with respect to the quantity of films it turns out.
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Unfortunately, Nollywood films do not enjoy good rating, both here at home and abroad.
Similarly, invasion by go-for-the-money filmmakers who turn the art of filmmaking into money spinning trade, as well as pecuniary challenges have been identified as common problems faced by the Nollywood industry. The point must however be made that there are prominent filmmakers in the industry who have refused to be sucked in by the easy money the invaders are making. These professionals have ensured that quality is not totally lost in the industry. According to Shimshenge and
Agav, these professionals include Tunde Kelani (through his Mainstream film and
Television production outfit) Teco Benson, Lancelot Imasuen, Emem Isong and Fidelis
Duker whom they describe as ‘those who never gave up on supplying quality works’.
(108) In spite of this truism, it has been observed that most research works carried out on Nollywood movies mostly border on the negative aspects of the industry thereby confining it to doom as it were. It is true that there are those aspects that need to be addressed for the industry to find its professional height. But those ingenuities of the industry that are making the industry tick today, and that are peculiar to it must not be neglected. Researchers must be seen to highlight the strength of the industry as well.
The problem emanating from this will be that though Nollywood has done ingeniously well to come this far, there is the feeling that it has remained largely trapped in uninspiring filmmaking techniques and that if stakeholders do not find ways of making the industry more attuned to globally acceptable standards of filmmaking, the industry will collapse. It is with this kind of mindset that Abiodun Olayiwola said that:
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The film industry in Nigeria is left in the thick wilderness of
survival as it battles with the difficulty of maintaining its own in
a world that is gradually shrinking into McLuhan’s global village
(319)
It is as a consequence therefore that this research, bordering on technique and artistry, is embarked on to help direct attention to the true state and quality of
Nollywood films.
1.2 Research Question
Each research concern poses its own question(s), the one(s) that the researcher sets out to answer. The following are the questions that this research work is looking to deal with:
• What are the technical, aesthetic and artistic states of Nollywood Movies?
• How has the invasion of the industry by non professionals affected the
Nollywood industry?
• How professional and ethical are Nollywood filmmakers?
• To what extent do Nollywood filmmakers adhere to ethical prescriptions by the
films and video censors board?
There is also the question of whether or not films produced in Nigeria (Nollywood) can favourably compete with the more developed film traditions of America, Europe and Asia.
1.3 Objectives of the Study
It is a known fact that the western action adventures and Bollywood musicals do not provide enough film content that is relevant to the worldview of Africans generally
19 and Nigerians particularly. And since Nollywood has grown to become the largest, and by implication the most far-reaching film industry in Africa, it is being relied on to provide an alternative film image tradition that Africans can relate with directly. But as it is today, there are doubts being expressed by people of Nollywood’s capacity to achieve this. This doubt is premised on the industry’s amateurish approach to filmmaking, a trend feared to be capable of entrenching itself as a film tradition different from what obtains in other film traditions.
Nollywood may parade familiar settings and plot that Africans understand and confront daily but its critics think that there is the question of audio-visual quality that engenders sustainability of interest and continuous acceptability by consumers. For this reason, they claim that the appetite of Africans and Nigerians for foreign movies is beginning to return again thereby threatening the continued existence of Nollywood movies.
As a consequence, the objective of this research is to explore the technical, creative and aesthetic components of select Nollywood movies with the ultimate intention of knowing the strength and weaknesses of the industry. The idea is to draw the attention of film scholars and filmmakers in Nigeria to the growth and development of the industry. This will be achieved by leveraging on theories and practices that are known to drive the film industry globally.
Consequently, it is the hope of this researcher that the community of filmmakers in Nigeria, including the academics whose job is to train the filmmakers, will not only be pointed to areas where there are rooms for improvement but will also leverage on the content of the research work to take the movie industry in Nigeria to another level, thereby making it a global competitor.
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The point must be made that, except for those who had the privilege to study abroad, most Nollywood filmmakers are products of theatre Arts and related departments in Nigerian institutions of higher learning. The Departments of theatre Arts are hardly equipped with enough resources to teach film in most of our institutions. As a consequence, what graduates of these institutions end up with is usually not sufficient for them to practice in the field. It is therefore one of the objectives of this work to challenge these Departments to key into best global training traditions by restructuring their curricula for the purpose of enhancing the performance of their graduates in this very challenging vocation of filmmaking.
This researcher believes that the proper training of theatre graduates will be a big step towards correcting most of the problems faced by the film industry in Nigeria, the truth being that the amateurs will be forced to vacate the scene if well trained professionals begin to produce quality movies. The competitiveness of the market will naturally put them out of business. This work therefore seeks to explore ways of calling attention to the problems of the Nollywood, using three selected movies as case study.
By the end of this research, the following objectives will hopefully be achieved:
• That there will be a reconsideration of the notion that the Nollywood
industry is only associated with low quality products.
• It is expected that in spite of the amateurish approach to most films
produced in the industry, the research shall establish that
Nollywood is an emerging force in the global film industry.
• It is the hope of the researcher that the challenges of the industry thrown up
by the research will encourage professional filmmakers in Nigeria to
reclaim their professional space from amateurs whose penchant to make
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brisk money is responsible for the poor quality and rating of Nollywood
films.
• At the end it is hoped that Nollywood filmmakers will come to terms with
film’s potential to shape the culture of its people and therefore see the
constant need to respect the ethical prescriptions by the Nigerian Films and
Videos Censors Board (NFVCB).
1.4 Significance of the Study
It is true that since Living in Bondage was produced by Kenneth Nnebue in
1992 the film industry in Nigeria has come under criticism by both professionals and non professionals alike. It is also true that most of the issues this work seeks to tackle have been mentioned one way or the other by some of these critics. But the one thing that this study seeks to approach differently is that unlike the usual concentration on plot arrangement, storyline, socio-cultural relevance and the pecuniary challenges, the work looks to concern itself with technical and creative components of filming in
Nollywood. This involves a study of deeper technical issues like camera angle shots, lighting and audio qualities, as well as other elements that overlap in the Nollywood film production process.
It is pertinent to say that a look at the more technical components of the art of filmmaking is very imperative, especially as we are in the 21st century, an age when all media of communication are in dire contest for relevance.
It is from the above that the study derives its significance. The study brings to the fore important aspects of filmmaking which hitherto receive little or no attention.
By directing attention to these important aspects of filmmaking, stakeholders in the
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Nigerian film industry will be encouraged to work towards improving the technical, artistic and aesthetic quality of their movies to meet international standards.
More than anything else, and as implicated in the research question, issues of technique, artistry and aesthetic are core to the challenges faced by the movie industry in Nigeria. They are largely responsible for the low rating of Nollywood movies.
Because this research study borders on the technical and aesthetic component Nigerian made films, it will go a long way in helping to address the different issues attendant on such technical and creative fields in the industry.
1.5 Scope of the Study
The study is not a comparative work and so does not dabble into comparing particular film cultures like the American Hollywood or India’s Bollywood to films that are produced in Nigerian. Instead, it explores the film production techniques (both creative and technical) of films made in Nigeria in the light of standards that are considered professional globally. And though there are films made in Nigeria that can be said to be good enough, especially those shot in celluloid by the like of Ola Balogun in the years preceding the Nollywood tradition, such films are not of interest to this work. The target is those films produced in the Nollywood tradition of digital video production. What this means is that films produced earlier than 1992, especially those shot on celluloid by the arguably more-trained old brigade of Nigerian filmmakers are not within the purview of this study.
Of course it must be understood that the film industry in Nigeria can be broadly studied along two lines of divide – the one is of the era preceding 1992, which was principally driven by analogue film technology and the other belong to the period from
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1992 to date, which has come to be known as Nollywood and driven by the digital video technology.
The work covers the Nollywood movies alone. The three films that are to be studied and analysed are strictly those produced and directed by Nigerian filmmakers.
By this token the three selected movies for analysis in this study – Phone Swap as directed by Kunle Afolayan ‘Half of a Yellow Sun’ as directed by Biyi Bandele and The
Figurine as directed by Kunle Afolayan are treated as made in Nigeria films. These movies tell Nigerian stories and are produced and directed by professional Nigerian filmmakers in the Nollywood film tradition. Broadly, the study covers professionalism in film production in Nigeria. Closely related to professionalism is the issue of ethics and censorship in Nollywood film production.
The following films are examined:
1. The Figurine (2009) as directed by Kunle Afolayan
2. Half of a Yellow Sun (2013) as directed by Biyi Bandele
3. Phone Swap (2012) as directed by Kunle Afolayan
1.6 Limitation of the Study
Though materials abound in film and film related topics, it must be said that materials on professionalism in filmmaking and those on ethics are not common on library shelves. As a result, the internet provided an option which was explored but to very little effect. Book sites that were visited with the aim to download related books turned out to be of little help as well. Different search engines were also leveraged on for anything that might be of help. A few help came from there but not as much as required to deal with the research interest in the manner intended. The other problem
24 that is associated with internet sources happens to be their reliability. Not many scholars consider internet sources reliable enough for serious academic research.
Similarly, the books readily available are those written by foreign authors. As helpful as such works were to the research, they hardly make comments contemporaneous to professionalism, aesthetics and ethics in the Nollywood industry.
As a consequence, Journal articles written by Nigerian scholars on the Nollywood were mostly relied on for the review of related literature.
1.7 Research Methodology
Every research involves the collation of necessary data for the purpose of analysis in order to arrive at answer(s) to the questions raised by the researcher and attend to the problem statement of the study. To this end, many theatre research methods are available for the researcher to explore. For this work, the researcher is relying on the tools of the following theatre arts research techniques for collation of its data: the Historical, Sociological and Artistic methodologies.
1.8.1 The Historical Research Methodology
According to Sam Ukala the historical research methodology ‘entails the investigation of documented sources such as books, journals, reports, films, video and audio tapes, archival material, archaeological excavations, artefacts…as well as oral sources’ (12).
He goes on to describe the function of the Historical methodology of data collation in theatre arts as helping to trace the beginning and development of people, institutions and things. Because this research, in part entails establishing historical facts about the film industry in Nigeria and accounting for the beginning and development of
25 the Nollywood tradition, both of which can be collated from documented sources, the researcher found the Historical method useful.
The study is interested not only in the historical past of Nollywood but also in generating ideas on the present state of the industry and the films it produces. As a result the researcher finds the historical methodology indispensable. The usefulness of this technique to the research study is better be appreciated considering Nwabueze’s claim that the technique ‘…investigates, experiments, evaluates, discovers, recalls, analyze and reconstructs past trends, attitudes, achievements and facts in order to refresh the memory, proffer new dimension to an issue, clarify current problems, discover new knowledge or interpret existing ones in fresh perspective. To a large extent this study also explores historical documents on film (particularly Nollywood), and through the evaluation of such historical documents, discover current developments in Nollywwood with a view to suggesting perspectives that will help improve filmmaking practice in Nigeria. Materials on film generally and film in Nigeria, particularly movies of the Nollywood tradition are sourced from documented sources like books and journals of theatre arts extracted from libraries and the internet for the study.
1.8.2 The Sociological Research Methodology
According to Sam Ukala one of the techniques of gathering data in the
Sociological research methodology is interaction with recording on video or audio tapes. This makes it suitable for research studies that are media related. Of course this research study titled Professionalism and Ethics in Film production: a critique of technical and aesthetic elements in selected Nollywood Films is without doubt media
26 oriented. And since it requires watching and analysing a number of Nollywood movies, the researcher finds the Sociological research methodology suitable for the study.
The function of the Sociological research methodology is to describe, expose and establish the causes and effects of existing facts or situation with a view to making suggestions towards its maintenance, improvement or discouragement. This aptly captures the process of the research being embarked upon.
1.8.3 The Artistic Research Methodology
The Artistic research methodology allows for reliance on intuition, inspiration and imagination which theatre artists and scholars are known to be involved with most of the times. It is a method for artistic creation and interpretation which includes, but not limited to, developing a model for writing for the screen, designing and building costume, designing and executing light or sound plot, directing for the screen etc.
According to Sam Ukala this methodology is subjective and may even be speculative. Therefore the thesis to be produced with the Artistic methodology must have sufficient support of existing theories and practice for it to be recognised or accepted. And this aligns perfectly with the researcher’s intention to interpret and identify the problems that the Nollywood films have and to suggest ways of making them better.
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CHAPTER TWO
REVIEW OF RELATED LITERATURE AND THEORETICAL
FRAMEWORK
2.1 Preamble
Like every other research study, this one titled, Professionalism and Ethics in
Film production: a critique of technical and aesthetical elements in selected
Nollywood Films has its objective clearly stated in chapter one of this work, and so, in pursuance of the objective of the study, this chapter seeks to do an examination, evaluation and critical analysis of available data or materials related to the research topic. This review will be explored under the following sub-headings:
• Comparing the film and the video mediums
• Stages in film Production
• Film ethics and Censorship
• Film and Society
• Professionalism in Film Production
• Concept of Aesthetics in Film Production, and
• Theoretical Frameworks of the Study
2.2 Comparing the Film and the Video Mediums.
It is important to establish what truly constitute film. That way, the Nollywood film, which is at the centre of this study, can properly be situated where it belongs amongst the different genre of motion pictures. It is not uncommon to hear people describe all sorts of motion pictures as film. For instance, projects shot with digital cameras and edited on computer and those shot on celluloid film but edited and finished on video, plus those shot on celluloid, edited digitally and then returned to a
28 film format have all been described as film. But they all cannot be film and so describing all of them as such can be misleading. Audrey Amidon, a motion picture preservation specialist argued that
The term ‘film’ can be used in that general sense only when the process of capturing images with movie camera is discussed. This is when ‘filming’ is used as an action word (in the verbal sense) and not a physical object (a noun).
Responding to the question, what is the difference between film and video?
Posted on Carol’s blog, ‘the unwritten record’ Audrey described the process of filming as ubiquitous use of the verb ‘to film’. In that sense, he said the action is described in the same way - it was ‘filmed’ In that situation, it is alright to say that ‘I am filming’ not minding whatever motion-picture-capturing gadget that is used and what the finish will turn out to be. Whether it comes out in film format meant for projection in the theatre or it turns out in video format meant for electronic screen,
‘filming’ is appropriate. But that is as far as that. So what is film and what is not?
The following description by Amidon paints a glaring picture of how the film can be distinguished from the video:
If you shot it on your smart phone, that’s a video. If you inserted
it into your VCR…, it is a video. If you used a projector, which
is (sic) in it’s most basic form is a machine that moves a strip of
plastic past a light source at 24 Frames per second, then yes, you
do indeed have a film in your hands
(http://owyheesound.com/index.php)
The following statement by Michael Newman also lends credence to the fact that the video is not the same as film and that it cannot be used as an alternative for it. according to him,
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Video was often regarded as a medium of reproduction rather
than a legitimate and authentic alternative format for viewing a
movie. In some ways this positioned video as fraudulent insofar
as it might appear to be a fair substitute for film (53)
In furtherance of this argument, he went on to say that people who are interested in film/movie are likely to see movie on video as ‘A secondary option after seeing the original artworks, Just as a photographic reproduction of paintings would be regarded in the art world in distinction to Canvases hanging on gallery walls’ (53)
The positions held by Audrey and Newman above suggests that the film medium is not the same as video. Newman clearly draws a distinction between them by describing the video as a medium of reproducing movie and not a substitute for the film. The fact that the video cannot substitute film is in favour of the argument that
‘film’ exists separate from video. Similarly, Bruce Mamer’s comment on possible manipulations of film shoots also support the fact that film and video are different.
He explained that:
The preponderance of motion picture films shot commercially
these days is transferred to video and then posted in a digital
environment. From there, either it goes to a video finish or data
are generated during the edit – within a digital nonlinear editing
(NLE) system – for a return to the film negative (86)
The attraction is contained in the fact that after uploading motion picture shot in film format into the digital environment where it is editable, Mamer talked about two possible finishes – the video print or the film print. Suffice to say therefore that the video is not exactly the same as the film. It may be argued that the picture so far presented of film and video is that of the film image coexisting with the video. But
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Mamer talked about a great video revolution where video was going to knock film out of the box. He asked:
Why go to the expense of film for a product that would be solely
disseminated on video?...will the expressive quality of the film
image allow it to coexist with video? (87)
There are other levels of distinction that can be made between the film and those other movies that have assumed the name film. Bruce Mamer draws a distinction looking at what can be described as ‘the processing’ of the film against the video in the following words, ‘The film is ‘a photographic, chemical based medium’…the video is ‘an electronic medium based on recording to digital media’ (3)
Another sense in which the different movies can be distinguished is when one looks at the end product which is most times used to determine whether or not a movie is film. Traditionally, film is meant to be projected on a theatrical screen therefore, any visual project that is produced for a different instrument of dissemination is something else other than film. It is in this light that motion pictures meant for the electronic screen cannot be said to be film in the sense of the former, the truth being that there are video version of movies as well as movies exhibited theatrically, particularly films shot on 35mm. For this reason, visual projects shot with digital camera and edited on computer and those shot on film, edited and finished on video are not film because they cannot be projected in a theatre like those shot on film and digitally edited before returning to film format.
The pertinent and relevant question to this study is whether movies from
Nollywood can be described as film. In spite of the notion that film is meant to be projected on the theatrical screen and that a video tape is generally destined for an electronic screen, plus all of the other distinguishing factors considered so far, there
31 is a strong sense in which the Nollywood movie is indeed film. The following comment by Bruce Mamer points in this direction:
Theatrical presentation is not the only way that work gets screened these
days. With the growth of web sharing, video iPods, niche cable
channels, Video clubs, and a host of other exciting new presentation
avenues, a lot of work is getting out to a lot of people (xix)
2.3 Different Stages of the Film production Process
The fact that film passes through three broad stages of production has been stated in chapter one of this work. It establishes the fact that different stages are involved in the film production chain. This claim is further enforced by Ekwuazi when he said that ‘ All the phases of film production are geared towards achieving the best quality and standard required by ethics and professionalism’ (91)
Ekwuazi’s postulation above suggests there are phases in film production. It also presupposes that for the purpose of effectively achieving a total film production goal, different vital activities that conform to ethics and professionalism in filmmaking come to play. These stages of the production chain are the pre- production, the production and the post production phases.
2.3.1 The Pre-Production Phase
The pre-production stage/phase in the film production chain primarily has the main checks and balances that may enable the film director to have a full idea of what the production system would be and how it may end. In this stage, the producer and the director try to be proactive by identifying problems way ahead of time in order to minimise challenges that are wont to come with each film production project. It must be said that if these challenges are not envisaged and planned
32 against, they are often capable of prolonging the shooting proper at the production stage.
In order to achieve the main goal of ensuring a smooth shooting as suggested above, one major action that is often taken is that of budgeting which is done based on a detailed script. This task is not as simple as it may seem. This is due to a number of variables that may include the time required to set up a scene and mobilization of equipment and people, as well as the swings in human moods, weather and traffic flow, among others. This very important activity in the pre- production stage of filmmaking found expression in Afford’s statement that ‘Pre- production stage of film production is the beginning of all the feasible Attributes to the cost, role, location and setting (21)
The task in budgeting is therefore to analyse all elements of production, drawing from experience, in order to arrive at a close approximation of the amount that will be required to execute a particular film production project.
According to Adesanya, cursory look at budgeting steps shows that the producer and his production manager must:
• Have a completed approved script to work with.
• Determine running time for the movie.
• Decide on the level of production (small/low, medium, average,
blockbuster or big budget film)
• Determine format of production (feature film or home video)
• Breakdown the script
• Prepare breakdown sheets and production list (equipment, props and
materials)
• Prepare a shooting/production schedule
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• Compute the cost of everything
• Keep a track of spending
Above all, one must be ready for, and be adequately insured against the variable bug by having a contingency budget. This implies increasing the total budgeted cost of
Production by a fixed percentage of not less than its average output. Adesanya said that the above ‘expresses the profile of contingency list for Pre-Production phase of film production in any industry’. (52)
Adesanya’s statement involves the management of human, technical and financial resources in motion picture production.
2.3.2 The Production Phase
The production stage in the film production process is the brim of the entire collaborative effort that brings motion picture (film) to a finished product. It is at this stage that the production plan embarked upon by the producer and his Production manager properly takes off. It is then that the producer or the production Manager breaks down the script for the purpose of budgeting and preparation of the Production schedule, as well as keep track of production process. At this stage, the director spells out the mode of operation by staging the actions of the play from the approved script and his artistic/technical interpretation of the script. The cinematographer captures the action and the soundman/mixer records the dialogue and music. It is evident from the above that both the director and the cinematographer are key to this phase in the film production process. On set (i.e. during production) ‘the Cinematographer is between the cast and the action of the production. His place during production is aptly captured by Amu in his remark that ‘The cinematographer does more of the composition and visual aesthetic that passes the message to the audience (169)
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The director, on the other hand, is more often than not the first person to be engaged by a producer once the project is decided upon. As a result, the director is on the production right from the onset. While he does the casting, sometimes with input from the producer or a casting director, he is solely responsible for assembling his crew and equipment. It is also in his place to breakdown the screenplay into a shooting script. Consequently, it is required that a director must be both literate and literary to earn his point as the artistic ‘owner’ of the film. It is in support of this fact that
Adesanya argued that ‘The director must be equally technically and artistically competent and not share his screen credit with another director or other directors in the production. (69)
This implies that every director has his or her own style of approaching directorial techniques and translating script to screen. In the production stage, the film is created and shot. At this stage, more crew members such as a property manager, script supervisor, assistant directors, still photographer, picture and sound editors are required.
Typically, a usual day’s shooting begins with the crew arriving at the set/location by their call time. Actors usually have their own separate call time since set construction and lighting can take many hours or even days. They are often set up ahead of proper shoot.
In the production phase, the make-up artist, the costume artist, the set and graphic designers all contribute their best to the project by exercising and displaying their
Professionalism in order to achieve a good production. Most of these professionals are trained filmmakers who know how best to do what is required of them.
2.3.3 The Post Production Phase
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In the post production phase, attention shifts to the editor, the music recorder and the sound man. The stage is all about editing of the raw footages taken at the production stage. Therefore the editor becomes very important, playing a vital role in the final assembling of the film.
An important component of the editor’s work is to build a rough cut taken from sequences (or scenes) based on individual takes (shots). The purpose of the rough cut is to select and order the best shots. The director usually works with the editor to ensure that the envisioned shots are not left out in the selection. From building of the rough cut, the editor moves on to create a fine cut by getting all the shots to flow smoothly in a seamless story. Trimming of the process or shortening scenes by a few seconds or even frames is done during this phase. According to Kankara ‘After the fine cut has been screened and approved by the director and producer, the picture is locked, meaning no further changes are made. (22)
The next step is for the editor to create a negative cut list (using edge code) or an edit decision list (using time code) either manually or automatically. This edit list identifies the source and the picture frame of each shot in the fine cut. During post production the director is in constant touch with the editor. He supervises the works of the composer, the conductor, musician(s) and the mixing of the special effect
(SFX), visual effect (VXF) and the CGI
2.4 Film Ethics and Censorship
There is a strong meeting point between the film and the society. While the society creates the film, the film seeks to inspire and improve the society. It is not surprising therefore that since the invention of the motion picture as a technological product, societies have recognised its artistic potential as being capable of shaping its peoples and cultures. Complementing these manifest functions, movies, according to
36
Ekwuazi ‘Became the vehicle for ideas, values and social bonds of value to the
organisation of life under image labour. (66)
In order that film can effectively meet its responsibility to the society and its peoples, there are ethics that guide the practice of professional filmmaking. These ethics of film and censorship goes with the standard of film production as film carries with it a communication that enlighten, educate, entertain and inform people about their environments.
The issue of ethics is not limited to filmmaking alone. All professions have ethics carefully outlined to guide professionals in the execution of their work. At this broad level, ‘work ethics’ may serve more appropriately. There are several definitions to work ethics. But one that is explicit and relevant to this research work is the one provided by the business dictionary online. It defines it as ‘A written set of guidelines issued by an organisation to its workers and management to help them conduct their actions in accordance with its primary values and ethical standards’
Adherence to courtesy, honesty and responsibility in work place has been described by Osmond Vitez, an online media content writer as work ethics. He also commented on the importance of work ethics in any chosen profession, saying that
‘Work ethics is one feature that determines the high level of excellence that is required for businesses to thrive. The style and structure of any organisation depends largely on work ethics. Every organisation has a work ethics that is built around an internal moral system or code of ethics that employees and management are expected to demonstrate in their work places.
Quality and cultural decency is important to film production anywhere in the world therefore the ethics of film production depends on the variables and conditions for accepting standardization. When film speaks as the voice of a society, it does more
37 of entertainment. But when the society speaks through film, a conscious attitude and opinion is formed that the society advances.
Film is a medium of communication that uses camera and other visual elements that enables the realisation of the content of the story to be told, or already told. The motion picture presents two dimensional images within a frame. It is choreographed to utilize space for aesthetics and manipulate their material within the dimension of time.
Secondly, it is based on a narrative or a story for which it develops characterization, using human actors who are engaged in a performance that conveys several levels of meanings. These are features that are unique to the motion picture camera. But it is in its capacity to capture and convey several meanings that the motion picture camera serves its most effective and maximum purpose. The National Film policy stipulates that:
The cinematographic Act of 1963 and the cinematography (film
censorship) Regulation 1964 (now referred to as Cap 49) in the revised
laws of the Federation of Nigeria 1990, have been substantially modified
by the National Film and video censorship board (21)
The National Film and Video Censors Board, as a corporate entity exist because of the citizens or clients that it serves. It is in recognition of the rights of the citizens of
Nigeria, particularly the young ones (youths) that it is created so as to protect them from the adverse, corruptive and negative influences of movie content like adult content, offensive languages, violence, drug addiction and crime.
The film industry is an important medium of communication which cuts across
National and cultural boundaries. It is a tool for national, economic, social, cultural and political development, as well as being a powerful medium for the promotion of
National ethics, National mobilization, and National pride. It requires a careful planning
38 to ensure that it is not dominated by foreign cultural influences and their products of violence, drug addiction and indiscipline which are alien to our culture. The fear of these negative influences in our local movies and the role of the Film and Video
Censors Board were echoed by Ekwuazi when he said:
Nevertheless, due to unprofessional practices of present home video
Practitioners in their act of filmmaking, such as lack of good
composition, creative lighting and sound expression, the role of the Film
and Video Censors Board in achieving a turn around in all of these is
important. (61)
In addition to carefully and scrupulously examining all films presented for classification, the Board sees to the orderly development and growth of the industry by making sure that all the practitioners in the industry comply with the rules and ethics as provided by the law.
Film ethics and censorships are the functions of the National Film and Video
Censors Board (NFVCB) in Nigeria. Wipo is of the opinion that amongst the different reasons films need to be censored, ‘Censorship can also come about as a result of religious or political beliefs, or taboos, or even for economic reasons and ethics. (56)
This is a very important aspect of the whole subject of censorship. If a film is banned from the shops completely, or from being produced at all, it can be said that it does not meet the required standard of production.
The National Film and Video Censors’ Board law of copyright rests on a very clear principle: that anyone who by his or her own skill and labour creates an original work of whatever character shall, for a limited period, enjoy an exclusive right to copy that work. Shehu says that:
39
Copyright laws exists not only to protect authors or creators of original
works of auteur-ship but also all chain of the title rights holders,
including film distribution. (23)
The term chain of titles refer to the documented collection of assignments to the producer, special purpose entity (SPE), distribution or other entity that proxies ownership of, or distribution rights to a film. On this premise, Wipo wrote that:
While differences subsist in National copyrights from country to
country, as the regulation of copyright transfers, rules regarding the
remuneration of authors and methods of dispute resolution, the guiding
principles are enshrined in the convention for protection of literary and
artistic works. (94)
The following are National Film and Video Censors Board (NFVCB) objectives for film ethics and censorship enshrined in the film policy:
• Te establish a virile self-sustaining profit oriented film industry
• To serve as a vital instrument for international image building
• To promote the rich cultural heritage of our national aspiration in the process of
industrialization integration
• To serve as a tool for National cohesion
• To serve as a vehicle for public enlightenment, education, entertainment and
mobilization
• To encourage the production and exportation of films, and
• To mobilize and motivate the people by propagating ideas which promote
National pride, solidarity and consciousness.
Those objectives shall be achieved through production, distribution, exhibition, provision of infrastructure, training and research, administration and adequate funding;
40 promote and encourage the active collaboration and interaction of agencies within the
Nations economic and social context.
Film ethics relates to the whole process of production and funding of the film itself. Film ethics recognises the low volume of economic activities in the production sub-sector and the problems of funding, lack of production facilities and trained manpower, which may impinge on the quality of the film.
2.5 Film and Society
Opubor critically observes that:
Of all the media of mass communication the motion picture
(film) has perhaps the most universal appeal and impute.
Properly conceived and executed, a film can rise above the
limitations of language and cultural barriers by the powers of its
visual images, its use of music and sound effect, and can succeed
in conveying much the same message to the audiences of
heterogeneous background. (1)
The cinema is manipulative. Its audiences, during viewing keep adjusting its conception of reality. The film creates its own complete world, with people, location, events, feelings, words etc. the film carries with it a sense of reality through illusion.
The power of the film as a communicative medium lies in its capacity to create an illusionary reality, as well as make its viewers identify with the real world. Film has the potency to convey just anything, including abstract feelings and ideas through the powerful synthesis picture, sound and movement. Ekwuazi posits that ‘The movies are best media for sociological propaganda in terms of Social climate, slow infiltration, progressive inroads and overall integration’ (48)
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By way of aligning with this postulation, it may be concluded that film is probably the most powerful propaganda medium yet devised. The power and importance of the film medium is further projected through Ekwuazi’s comment that
‘What effect this artistic, social and cultural phenomenon has on the cultural values of both creators and viewers is an international problem of the first magnitude. (79)
Since film is a world wide language that can be understood by both the educated and those not educated, nothing less than the control of men’s mind and emotions are at stake. Since aesthetics in this case has become linked both with economies and with political actions responsive to the uses of visual communication, cinema is the major cultural force in the second half of the twenty first century.
Film exposes unities, liberates, reproaches, reprimands, scorns, applauds and attracts attention. Consequently, Ukpong is of the view that;
It is this attention getting characteristic that gives film its expressive
potential and that serves as the basic creative tool for the filmmaker.
Film gives insight into cultures and sharpens values and norms. (4)
Usually, it is possible to conceive of an impression which the eyes might behold or the ears hear, in actuality or imagination, which could not be represented in the medium of the film. Normally the society takes out of a film’s experience what they bring to it which of course is all the experiences of their past lives. Because men have different experiences, they do not emerge from the same film with exactly the same expression. The viewer’s bias for, and the high premium that they place on their eyes propel their willingness to invest anything they see with credibility. Arguing in a similar vein, Ekwuazi stated that ‘For the duration of the film, the audience exists in the film situation, a world of well nigh darkness. (57)
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Day by day, the cinema (which is film) makes life bearable for millions of people. They salvage the shreds of the films they have seen and carry them into their sleep. The reaction produced by the film rids them of their belated longings and day dreams. The cinema offers compensation for lives which have lost a great deal of their substance. It is no less than a modern necessity, as yet unsung by any poet.
The filmmakers make us sad and they make us gay. It urges us to reflect and delivers us from worries. It alleviates the burden of daily life and nourishes our impoverished imaginations. It is a great reservoir for our boredom and an indestructible net for our dreams. On this premise Mgbejume is of the view that:
Everyday million of people seek its seclusion, its worm
anonymity, its Non-committal appeal to the ego; the
concentration stories it tells, the colourful interchange of
emotion, force and love which passes across the screen. (93)
The film does not only reflect but also influences the society. The film does not only mirror but causes society to model itself on its mirrored images as reflected on the screen. On the other hand, society also influences the film because most ideas that the filmmaker generates are drawn from societal realities.
Film is a major vehicle for the dissemination of any culture. Apart fro anthropological field work there is nothing else comparable from the point of view of getting inside the mentality of another society as viewing films made for their home market. They are a mine of information and insight into the societies they portray or misportray for that matter.
Films portray cultures, cultures in turn is evolved by society. Therefore film draws its fabric from the society. Film is often influenced by prevailing situations in the society
43 such as behaviours, politics, economy, fashion, law, sceneries, and artefacts, to mention but a few.
According to Konigsberg, ‘every film is a cultural encyclopaedia’ (55) there is a cultural base underlining every film. Film is art and all arts are traditional, that is cultural. The discrete units of every art form, like the entire art itself, derive from specific cultural realities.
The film director and the broad spectrum of professionals (cast and crew) are a part of the society, as well as a part of the specialized industry which is rooted in the society. They shape the film by the different experiences acquired from the society.
They use the film audience to determine film type (genre), style and content. In this view, Olaosebikan postulates that the quality of product reflects the general mentality and attitude of a Peculiar and particular society towards the creation of such product.
The high standards of America reflect in their film for instance. Can same Be said of the Nigerian film product?
Art exposes society to itself. It sheds light on society’s lingering darkness and casts a beam to the heart of its darkness. The Nigerian society cast a lingering shadow over the work ground of the artist. The fact that pressing socio-economic demands outweighs aesthetic appreciation in the average person and has facilitated the pervading features that material gains are more important than genuine industrial merit, mediocrity preferred to professionalism, just to mention but a few of our social problems. These social problems influence and reflect on the film’s overall outlook.
With the trend of globalisation and the quest for societal competitiveness in the midst of a fast paced economic world, film is one approach regularly employed by Nations in the quest for sustenance and significance. In this, Nigeria is the largest black nation in the world, blessed with abundant human and natural resources. Several of her citizens
44 have distinguished themselves in diverse areas of human endeavour spanning business, literature, the arts, politics and sports, amongst others. Film is one of the most appealing medium that reaches its viewers both in rural and urban settings.
To write his film content the filmmaker relies on his knowledge of the society and the experiences of other persons. His perception is a combination of the cultural, political and economic nuances of the society he writes about, not necessarily that in which he lives. The knowledge of the society’s indices is a fundamental prerequisite to the filmmaker’s interpretation of the issues he/she chooses to express by insinuation, be it in any language. He appreciates the idea extrapolated in his chosen worldview and becomes proficient in communicating it. In line with this postulation, Osayande posits that ‘The filmmaker is a product of his society while the society is shaped by its images on screen. (28)
The filmmaker writes about his immediate physical society. This society is however non-lineal (borderless by time and space). He travels to bring the unknown to light, the far he brings near, the unreal he presents as real, and the wishful he makes true. This motivation keeps him in constant contact with the society.
The society as a field of study generates the thematic variables that it advances through the cinematic medium of film. To this end Okome asserts that ‘African history vis-à-vis the Nigerian society records a tradition of oral storytelling art form that is characterised by fables and myth. (36)
These stories play a significant role of complementing the visual rituals, dance and songs of many festivals. The filmmaker as an artist has preserved the cultures of
Nigerian society just as any other filmmaker in the world has also done by passing information from generation to generation, demystifying and/or mystifying the gods. It
45 is this ritualistic tendency in our culture that has trailed generations of motion picture
(film’s) thematic trends from the travelling theatre to the home video cinema.
2.6 Professionalism
In order to truly appreciate ‘professionalism in filmmaking’, a general understanding of the concept of professionalism will be helpful. In this direction, an exploration of the nature of ‘professionalism’ and that of related terms like ‘profession’ and ‘professional’ will provide for a better understanding of the term.
The picture of the professional is more clearly perceivable when it is understood in comparison to the amateur who the New Penguin English Dictionary describes as somebody who practices an art or science unskilfully. What this means in a contrastive sense is that the professional is a person who is experienced or skilful in certain occupation or activity.
Generally speaking, the term ‘profession’ relates to an occupation or a job that a person does and from which he or she makes a living. This is what is normally sought after when the question ‘what is your profession?’ is asked. To this questions all category of workers, both professionals and amateurs respond by citing what they do.
For example, answers like teacher, trader, doctor, lawyer, tailor etc will be provided.
Perhaps this is the picture of the professional that David Carr had in mind when he said:
To describe a member of a given occupation as a ‘Professional’
is to say no more than that they get paid for what they do; it is
in this sense, for example, that we contrast a professional with
an amateur footballer’ (22)
The subtle implication of this understanding is that even when one is skilful in a particular job or vocation but does not get paid for doing it, he or she cannot be said to be professional. In that sense, such persons are better seen as amateurs. The other thing
46 deducible from above is that in the concept of ‘professionalism’ there is a contrasting term in ‘amateurism’ and that while the professional gets paid for the work he does, the amateur does not. In that sense it is right to say that it is not one’s profession that makes him a professional but the person’s level of involvement. The determining factor is whether or not the person is involved enough through training and acquisition of skill to the extent that he or she gets paid when engaged.
This position might be confusing given that people, both amateur and
Professionals get paid for doing what they do. It is for this reason that it is preferable to leverage on the following criteria that Carr went on to identify as commonly cited when professionalism is being considered:
(I ) professions provide an important public service; (ii) they involve a
theoretically as well as practically grounded expertise; (iii) they have a
distinct ethical dimension which calls for expression in acode of
practice; (iv) they require organisation and regulation for purposes of
recruitment and discipline; and (v) professional practitioners require a
high degree of individual autonomy -independence of judgement – for
effective practice (23)
2.6.1 Professionalism in Film Production
Examples abound that can be drawn to justify that filmmaking is a professional concern and the fear expressed by Biodun Jeyifo for the situation in Nollywood is a good example in this respect. He observed that there are many technical crews who have never bothered to aspire to mastery of, and dexterity in the cinematographic equipment of the medium.
What this suggests is that there is a certain degree of technical knowledge that is required of those handling cinematographic equipment (which is a vital component of
47 filmmaking equipment), and as implicated by Carr earlier, it is this theoretical and practical grounding expertise that is required of a professional. Writing on the concept of professionalism and filmmaking, Adu says that ‘professionalism in filmmaking is the mastery of film both in concept and in context’ (154).
It is important to note that professionalism in filmmaking is an attitude and a pattern of behaviour which facilitates, rather than disturb the attainment of a collaborative artistic endeavour. In plain and simple language, doing ones work very well and not constituting oneself into a problem for the work is being professional.
Barr defines professionalism as including ‘courtesy to the producer, the studio and the director, as well as the actors and technicians with whom the director is working with’ It is unfair for one to be unprofessional in any given duty or job because it will cause the entire production to spend large amounts of money simply because such person’s discipline is poor.
One of the objectives of being a professional is to enhance the technical quality of the film production. it is obvious that film production is a form of artistic expression.
It is a collaborative effort of all the professionals, both cast and crew, in filmmaking.
The success or otherwise of the work depends on the level of competence of the various contributing sections. As Etuk puts it,
The performance of any filmmaker determines to a large extent
the ultimate impression that the artistic endeavour has on the
viewing audience. This is a responsibility that he bears and
which he must be conscious of’ (156)
Therefore, the filmmaker owes it to himself as an artist to discharge his responsibility to the best of his ability with every production he/she engages in. The filmmaker must not shy away from all that he or she needs to do to train and
48 development his/herself to that level where he or she can competently discharge his/her duty with a rewarding ability.
Professionalism entails good performance by actors/actresses on set and good directorial concept by the film director, as well as good composition by the cameraman or the director of photography (DOP). They must put hands on deck to produce good film that should be able to meet global standards of film production.
Films like Phone Swap by Kunle Afolayan’, Inale by Jeta Amata’, Confusion
Na Wa by Kenneth Gyang are films directed by directors that have the required film training from reputable film schools. They are professionals who effectively organise, coordinate, mobilise, plan, direct and produce world class films with professional touch that meets international acceptable standards/ethics of film production.
Adu stated that, ‘The filmmaker must continuously seek ways of enhancing his performance’ (156)
All filmmakers must constantly strive to develop their capacities. They must also be alive to their environment and experience life consciously for it is in life that they can find all the materials needed to produce a good movie.
Professionalism comes with continuous learning, sharpening of skills, training and retraining. The feeling that one knows it all has no place in professional filmmaking.
In Adu’s words:
• A true professional is one who does not lack the discipline of his
profession which he must have the humility to observe and cultivate’
• He/she must have the finesse and sensitivity of a true artist. This
manifests itself in a natural tendency towards all that is decent and
noble.
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• He must be conversant with the ethics and normal practices in the
profession, and observe all.
• Must have the interest of a true artist to his art (155)
Going by Adu’s statement above, being a professional in any profession requires an all round expertise and a good degree of competence, knowledge and intellectual prowess in a person’s field of discipline. That is why professionalism in filmmaking is the same as obtains and required in other professions.
2.7 Concept of Aesthetics in Film Production
Film aesthetics plays a vital role in the overall quality and beautification of the film. It is the branch of philosophy that deals with the nature of beauty, art and taste with the creation and appreciation of beauty. Film aesthetics is simply a representation of an extra cinematic social reality. According to Wheeler, ‘aesthetics is the whole outlook of a film usually called mise-en-scene’ (23)
Mise-en-scene is that aspects of film that enthral an audience despite the story.
It is a driving force behind every film which also qualifies it as a work of art. A story can be lost if the mise-en-scene is poorly managed. The placement of figures in an identifiable space that is lighted, costumed and filmed can communicate immediately the relationship of the figures without uttering any word. The desired effect a filmmaker gets from the audience can be enhanced through proper manipulation of the mise-en- scene. Dirks is of the opinion that,
Overall mise-en-scene is used when the director wishes to give
an impression of the characters or situations without vocally
articulating it through the framework of spoken language, and
typically does not represent a realistic setting (121)
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Aesthetics can be used to amplify character’s emotion or the dominant mood of a film. It comprises of the set design, camera composition, costume and make-up, lighting, sound and music; background and staging or blocking of characters by the film director. Bordwell and Thompson are of the view that:
Aesthetics gives the desired outlook of a film production and the
whole essence is to express ideology, emotion, colour depth,
style and reality on screen (48)
Film without aesthetics is like a naked man on the street. In films, aesthetics is somewhat more complicated. It is a blend of the visual conventions of the film production. Since aesthetics is the whole aspect of the mise-en-scene, it determines how a scene is perceived even before events in the scene begin to unfold. The message on screen can exist without actors. This helps to set a very huge part of the whole film to advance independently. For example, before a character is introduced in film, the personality of such a character can be easily detected through the nature of the set, whether he is rich or poor, organised or disorganised. According to Monaco,
Through the application of costumes/make-up, the appearance of
the character on screen can tell more stories than dialogue and
this aspect of aesthetic can authenticate realism to a film and also
play important motive and casual roles in narratives (209)
Aesthetics overlaps into the physical art of the film setting which provides the director an opportunity to stage event using such element as light and camera composition (shots). The film director stages the event for the camera to provide his audience with vivid, sharp memories. Directors and film scholars alike recognise aesthetics as an essential part of the director’s creative art.
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Aesthetics is an outstanding craft that is properly geared towards the arrangement of components of film so as to improve the quality of film. The world of the film is dependent on the aesthetic applications of the components of film production. The components control all the elements that appear on each frame of the film. Filmmakers do require the elements so that every scene in the movie will be good enough to depict the themes and characterisations.
In view of the components of aesthetics, the improvements on sets, costumes/make-up, directing and lighting artistically represent a lot and effectively give quality to the movie produced. Therefore the role of aesthetic is meant to expose the directional input by communicating the story in the director’s own unique way, exhibiting the cultural, traditional and social beliefs of the immediate people to the audience in all artistic manners. Robigger expresses that ‘Aesthetics are a stimulating and highly productive way to investigate composition and to do so with several other people on set (65)
Aesthetics determines the visual rhythm, how the duration affects the perception and the principle behind the filmmaker’s philosophy. Aesthetics also deals with the question of whether such qualities like light, compositions, costumes/make-up, special effects, visual effects are objectively present in the things they appear to qualify, or whether they exist only in the minds of the individuals; hence whether objects are perceived by a particular mode, the aesthetic mode, or whether instead the objects have, in themselves, special qualities – aesthetic qualities. According to Wikipedia source, the term aesthetics was introduced in 1753 by the German philosopher Alexander Gotlieb
Baumgarten, but the story of the nature of beauty has been pursued for centuries. In the past it was chiefly a subject for philosophers. Since the 19th century, artists also have contributed their views.
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2.8 Theoretical Framework of the Study
This research entails a critique of technical and aesthetic elements in selected
Nollywood movies. This implies that effort will be made to determine how the selected films use various cinematic techniques and elements of film. In order to achieve this, it has become expedient to use a number of theories relevant to film analysis/interpretation to drive the work. Three different film theories – The Formalist
Theory, Classical Theory and the Auteur Theory will be relied on. This is because no particular theory may sufficiently meet the different levels of analyses and interpretation that will be attempted. On the strength of their relevance to different aspects of the analysis to be made, these theories will be relied upon.
The Formalist theory and Classical Theory concern themselves with ‘Form’ while the Auteur Theory gives the right of ownership to the Director to direct a film according to his creative prowess and competence. Their relevance to the research concern is not in doubt.
2.8.1 The Formalist Theory
The formalist film theory is a major theory of film study and criticism. It concerns itself with the technical elements of a film like lighting, sound, shot composition and continuity, amongst others. It takes into account the effective syntheses, or lack of it, of the different elements of film production. The formalists believe that film is a manipulative medium because filmmakers are in the business of bringing disconnected reality together into an organised art form.
At the centre of this research is the analysis of how Nollywood filmmakers manipulate the different realities and other film elements that come together in their films. As a consequence the formalists’ theory approach to film interpretation and analysis is relevant to this research.
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Formalism is concerned with style and how these styles communicate ideas and themes.
With respect to this Monaco says that:
Formalist theory examines the values of filmic components and it is
objectively deduced from the production of film in which the director
and his crew must adhere to (232)
The formalist Theory use special criteria to access/asses the standardization and ethical framework of a film produced within a certain content and context. With respect to aesthetics, formalism examines the light, costume and make-up, directing style, composition and other aesthetic elements used in a film, most especially the visual components and special effects.
2.8.2 Theory of Classicism or Classical Theory.
The other theory that drives a part of this work is the Classical Theory of
Aesthetics. This theory was founded by Plato who believed that reality consists of forms beyond human sensation which are the models for all things that exist in human experience. The objects of such experience are examples of limitations of those forms.
The philosopher tries to reason from the object experienced to the reality that it imitates. The artist copies the experienced object, or uses it as a model for the work.
Thus the artist’s work is an imitation of an imitation.
Plato’s thinking had a marked ascetic strain. In his ‘Republic’ Plato went so far as to banish some types of artists from his ideal society because he thought their works encouraged immorality or portrayed base characters, and that certain musical compositions caused laziness or incited people to immoderate action.
Aristotle also spoke of art as imitation, but not in the platonic sense. One could imitate things as they ought to be. He wrote that art partly completes what nature cannot
54 bring to finish. The artist separates the form from the matter of some objects of experience such as the human body or tree, and imposes that form on another matter.
Since aesthetic is inseparable from art because it deals with artistic beautification, film which is art has adopted the philosophy of aesthetic as propounded by Plato and
Aristotle.
2.8.3 Theory of Auteurship or Auteur Theory
The third theory is the Auteur Theory. This theory was advocated in 1954 by
French film director and critic Francois Truffaut. The theory holds that a film reflects the director’s personal creative vision (wikipedia). In other words, the creative control in the making of a motion picture rests with the director. This is unlike the
‘collectiveness’ in the art of film production advanced by the formalist critic. The formalist theory is interested in recurring themes, symbols and motifs that defines the director’s vision.
Since the Auteur theory gives the right of ownership of the art of film to the director, it provides a good theoretical background for analysing any type of film anywhere in the world. The way and manner that Nollywood film directors manipulate film making elements and through that own the right to the work is a necessary area of consideration in the analysis to be made. Consequently, together with the Formalist theory and the classical theory on film, this theory will help to drive the analysis of the movies selected for this work.
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CHAPTER THREE
SYNOPSES OF THE THREE FILMS
3.1 Preamble
This chapter summarises the stories of the three movies that are selected for this study. This is necessary to give insights into the world of the movies. The three movies are Half of a Yellow Sun, The Figurine and Phone Swap. It is expected that after reading this synopsis, those who are yet to watch the movies will be able to make sense of the different levels of analysis made in this chapter.
3.2 Half of a Yellow Sun
The movie’ Half of a Yellow Sun’ (2013) is an adaptation of Chimamanda
Ngozi Adichie’s historical novel of the same title. It was shot at locations in Cross
River State, Enugu, Nsukka and the United Kingdom on a budget of about 1.27 billion
Naira ($8m) thereby making it the most expensive Nollywood movie so far shot
(https://www.naij.com/31426.html) The movie takes a cursory look at life in the sixties in Eastern Nigeria. Its narrative builds on a dual plot of love and war woven around a set of twin sisters who are daughters of an influential Nigerian father (chief Ozobia).
The sisters, Olana and Kainene have just returned to Nigeria after their education in England. While Olana decides on moving in with her lover Odenigbo (a revolutionary university lecturer), her sister Kainene commits herself to managing the family business. Kainene falls in love with Richard (a British writer who is writing a book on Africa and is in Nigeria to explore the Igbo-Ukwu Art). The sisters pursue their different passions until the civil war erupts and holes them in, changing everything about them for the worst.
Through their experiences the film tells the story of how the peace of a people gets rustled by an avoidable war. It x-rays the desire of the Igbo race to secede from the
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Nigerian nation state due to a general feeling of angst and disappointment for a system they consider insensitive to their wellbeing as a people.
The scene in Kano where Aunty Ifeka (Olana’s uncle’s wife) is dragged away by a machete wielding young man in Olana’s presence to where she is eventually killed captures the kind of unaccommodating attitude by the North that ignited the clamour for the Biafran state. Even at home in the East, the Igbo’s are treated as outcasts as is seen in the airport scene where those who are connected to Igbo by their modes of dresses, name tags and looks are brutally shot by federal agents.
The genuine desire of the Igbo’s to secede is effectively captured in the jubilation that greets the declaration of the state of Biafra. Odenigbo whose character is moulded in the cast of the elite class that carries the aspiration of his people is seen in a jubilant mood, singing ‘…this is the beginning…’
This joy and hope for a new beginning is only short lived as the Federal troop swoops in almost as soon as the Republic is declared, making life hell for the people.
They annex most towns and cities, causing locals to evacuate their homes for refugee camps scattered everywhere. Those who can afford it, like Mr. and Mrs Ozobia (Olana and Kainen’s parent) leave the country. This may be the director’s way of telling about how the elites ignite the war and abandon the poor, aged, women and children to suffer its consequence, a situation that seem to be substantiated by Ojukwu’s ‘abandonment’ of the struggle that he pioneers to seek asylum in Ivory Coast.
Living becomes abnormal as is seen in the troubles that trail each other in rapid succession. The killing of Odenigbo’s mother and that of his friend Okeoma, the whisking away of Ugwu (Odenigbo’s house help who appeared later) and the disappearance of Olana amongst other mishaps are clues to the wind of woe that the war brings.
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Apart from being sketchy, Odenigbo’s eventual wedding to Olana suffers a disruption from gun shots and bomb detonations, leading to the death of his friend
Okeoma. And to think that a university Don’s wedding to the daughter of the wealthy chief Ozobia will be that sketchy is unthinkable in a normal situation.
The low life they live after the wedding brings the pains of the war even closer.
Odenigbo and his wife are reduced to the point that it is kerosene and firewood that cooks their food. At some point they could not even pay their rent anymore. Things become so bad they have to move to one of the refugee camps where they stay until they are forced to leave by bomb threats.
The narrative of the movie is not without cultural issues that touch on the rights of the woman. Odenigbo’s mother brings Amala from the village to marry him not because she loves her but only to satisfy her desire for a grand-child. She soon abandons Amala to her fate once she had a child for Odenigbo. Attention is directed to the question of how African cultures treat the woman especially when Mama asks
Olana if she would marry her son.
At last the war is over but only after Kainene disappears. And this suggests that during the Nigerian civil war, many people disconnected with their families unaccounted for till this day.
Since its release the movie has attracted so much attention and has come under heavy criticisms from reviewers within and outside the country. Most of such criticisms bother on how the director has managed movement from the world of the novel to the screen. In this direction, there seem to be a general feeling that the movie is a far cry from the rich narrative of the novel; that the director is less interested in the political conflict of the film compared to the romantic conflict. The argument is that a more forceful director would have shown the tragedy in stead of reporting it second hand.
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However, the researcher is of the opinion that Production cost might not be unconnected to the director’s choice of how he told his story. Actors from both
Hollywood and Nollywood acted in the film. They include Chiwetel Ejiofor
(Odenigbo), Onyeka Onwenu (mama), Thandi Newton (Olana), John Boyega (ugwu),
Anika Noni Rose (kainene), and Genevieve Nnaji (Ms Adebayo)
3.3 The Figurine
The Figurine (2009) is a thriller written by Kemi Adesoye and directed by
Kunle Afolayan. The story revolves around three friends, Sola and Femi, and Mona who have graduated from university. During an endurance trek at the Youth Service camp, Sola and Femi find a mystical sculpture in an abandoned shrine in a forest. Sola, being a graduate of archaeology collects the sculpture unknown to him that it is cast in the likeness and spirit of the goddess Araromi who prospers anyone that comes in contact with the sculpture for seven years, after which she would unleash terror and destruction on the person(s) for another seven years.
Before passing out from the NYSC Camp, Mona (who is already pregnant) tells
Femi that Sola has proposed marriage to her and that she has agreed to marry him. Femi is hit by jealousy and makes effort to discourage Sola from pursuing his plan to marry
Mona but Sola will not budge. Femi returns home from the camp to find his father who has been sick hale and hearty apparently because he has had contact with the Araromi sculpture. Having barely worked six months at his place of primary assignment, he is favoured to travel abroad for a special training. Sola marries Mona and finds a good job, all as a result of having contact with the sculpture.
All these years that the Araromi sculpture is kept Sola and Mona’s home, they have breakthrough, including their marriage in spite of the fact that Sola has always been randy. Seven years later, Femi returns from abroad. At a party organised by Sola
59 he smokes cigarette, testimony to the fact that the goddess Araromi has healed him of asthma. His actions at the party show that he still loves Mona even as she tries to match make him with her friend, Linda.
Through the Dean who was her guardian back in the university, Mona hears about the myth surrounding Araromi and consequently becomes suspicious of the way things have worked for them over the years. She suspects it is connected to the sculpture and asks Lara, Femi’s sister who has been living with them, to throw it away but the sculpture returns. She tries herself to throw it into the lagoon but lost her pregnancy in the process. That is the beginning of the many misfortune that are to follow. Sola’s only child, Junior, dies, Femi’s asthma returns as Sola goes back to his randy ways, frolicking with Linda, Lara and his old time girl friend, Ngozi. Sola and
Femi lose their jobs. And Femi’s father dies. They burn the sculpture but it finds its way back and then following Femi’s suggestion, they agree to return the sculpture to where they picked it.
Mona accuses Lara of being responsible for the death of her son and sends her packing from the house. In the process her box opens revealing many Araromi sculptures that are later understood to be carved for Femi by his late father. Lara confesses to Linda that her brother Femi used her to always return a sculpture each time one was burnt or thrown away.
Femi returns from the forest where they went to return the sculpture without
Sola whom he ‘killed’ back in the forest. He confesses to Linda that he orchestrated the whole thing so that he can kill Sola and get back Mona. He goes on to kill Linda too.
His sister Lara calls in the police who arrive and found him dead, having removed dead
Mona’s marriage ring and replaced it with one that he has always carried about.
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The movie ends with Linda, Femi and Mona still alive with the caption ‘What do you believe?’
3.4 Phone Swap
It is a romance comedy directed by Kunle Afolayan in 2012. The movie narrates the story of how Mary, a fashion designer and Akin, a business executive who are headed for different places but accidentally bump into each other at the airport and had their phones swap as a result. Consequently, Mary wrongly boards what should have been Akin’s plane scheduled for Abuja while Akin finds himself in the plane Mary should have boarded to Owerri.
They later discover that they have swapped their phones and so need each other to carry out their different assignments. On arrival at Owerri Akin calls Mary who is already in Abuja to go to his mother’s house in Abuja, from where she will proceed to his Company’s retreat that he is going to Abuja to attend. He asks her to remove a memory card from his phone and give to the Board chairman. She is to pretend to be his secretary. She agrees and asks in return that he should go to her Father’s house in
Owerri and help take care of the problem that caused her father to invite her home – a the problem between her sister, Cynthia and Cynthia’s husband. Cynthia is happily received by Akin’s mother just as Akin is received by Cynthia’s father. They both find it difficult to adapt because while Akin is from a rich background, Cynthia’s father is a farmer in the village.
At the venue of the Company’s retreat, Mary discovers that Akin is not liked by his colleagues who call him a back stabber, and that the chairman will not be around until the next day. She relays the message to Akin at the time that Cynthia’s in-laws have arrived to resolve the matter. Akin tells her that Cynthia’s offence is that she beat
61 her husband and has pulled his penis. She asks him to talk to Cynthia who seems to like
Akin.
Following Akin’s advice Cynthia kneels and breaks down in tears, apologising to her in-laws. That way the matter gets settled. Back in Abuja Mary uses the cloth her boss asks her to make for a client to attent a party organised by Akin’s mother. The client is also in the party and Mary pleads to the owner and promises to make another cloth for her under a new business, MARY-O that she is looking to float.
Mary realises that the chairman she is waiting to meet and give the memory card is Akin’s mother. And having finished their assignments, they both leave for Lagos where they both set out. They meet at the airport in Lagos and return the phones to each other and both enter Akin’s car, suggesting that they have found love having lost their lovers as a result of the swapped phones.
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CHAPTER FOUR
CRITICAL REVIEW /ANALYSIS OF THE THREE SELECTED NOLLYWOOD MOVIES
4.1 Preamble
Three made in Nigeria films have been selected for analysis in this chapter. The movies are chosen from the Nollywood industry. The idea is to study films that are made in Nigeria and belong to the Nollywood tradition. This excludes movies made in the years preceding 1992 when Kenneth Nnebue produced Living in Bondage, the film adjudged to be the first Nollywood movie. The movies so selected are:
1. Half of a Yellow Sun (2013), directed by Biyi Bandele
2. The Figurine (2009), directed by Kunle Afolayan
3. Phone Swap (2012), directed by David Oyewole.
These movies are selected for analysis because they better capture the style and technique that defines Nollywood movies today. By 2009 when The Figurine was produced, the industry was already seventeen years old and can be said to have grown reasonably to a point that styles and techniques peculiar to it must have begun to evolve.
What the researcher seeks to do in this chapter is not to merely recount the plot of the movies but to also determine how the selected films employ various cinematic techniques and other elements of film through reflective thoughts about the movies.
This is with a view to justify the main argument in this study that Nollywood movies are not entirely go-for-the money low quality films.
Broadly speaking, analysis of the creative/artistic and technical components of the selected movies is embarked upon. Cinematic features like lighting, sound,
63 dialogue, narrative structure, camera angle/composition and lighting, among others are the main focus.
4.2 Mode of Analysis of the Selected Movies
The technical and aesthetical components of the selected films shall form the basis upon which analysis in this chapter is made. Attention is paid to professionalism in the way and manner that these elements are handled by Nollywood filmmakers from the perspectives of the selected films. Ethical issues especially as it relates to code of conduct in relation to choice of language, sexuality and decent dressing constitute part of the analysis. The different sub heads that are treated across the three selected films are:
• Camera - This paid attention to framing and composition, camera angles and
camera moves.
• Sound – which is made up of speech, music, and sound effects
• Lighting and Shadows – Analysis here revolves around the three-point lighting
system in film production which are the key/fill/backlight systems and how they
are professionally employed for the purpose of capturing good footages.
• Speeches- deals with all forms of speeches, including dialogue, monologue and
narration
• Continuity – here, consistency is the key word. The professional ability of
Nollywood filmmakers to be consistent with everything in the shots and in
scene transitions will be subject of analysis.
• Costume and make-up – deal with what particular actors wear. they must
exactly suit the actors and the occasions that they grace
• Acting – concerns roles interpretations. With film, acting is strictly about
believability and the actors’ ability to relate with one another
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4.3.1 Cinematography in Half of a Yellow Sun
The movie ‘Half of a Yellow Sun’ is not a complex one and so lends itself to being captured by the camera through basic and simple shots. The people who were involved with calling, composing and taking of shots in the movie are by no means amateur considering the way and manner that the shots were selected and composed.
This point is made having observed that there is consistency in style and deliberateness in the choices of shots.
The long, medium and close up shots are predominantly used, as well as aerial shot and a few slants to other variables of these shot types. One cannot miss the fact that there is consistency and deliberateness in the choice of shots. The medium shot is preferred for the interior actions while the long and aerial shots are selected for outside actions. This motif runs through the entire movie.
There is no doubt that the makers of the movie know what they did in line with professionalism. For instance, they know that the medium shot cannot be effective all through for the interior shots. As a result, the camera is made to pan in or out from the constant medium shot to achieve close ups and above the shoulder shots for dialogue situations and long wide shots for group scenes. Example of this motif is used In the independence party scene where attention is paid to the crowd. From the preferred medium shot, the camera zooms out for the long wide shot to give a sense of the mise – en – scene and when two people dialogue it zooms in to a close up to emphasise those talking.
The first outside shots that one experiences in the movie is convincing. When
Olana arrives Kano where she goes to visit her uncle and his family, the shot used is an
65 aerial one. The idea is to capture the market which immediately tells that her uncle is a trader in Kano. Of course it is a known fact that most Igbo go to trade in places away from theirs. The moment this is established, the subjects of attraction are Olana and her uncle. The resultant take is a medium shot that is sustained and transits to the subsequent interior actions in her uncle’s house. And this is by all means professional as it supports the claim that there is always a reason that a particular shot is preferred against the other. The aerial shot suffices to establish the market while the medium shot is preferred for the purpose of drawing attention to the characters/subjects of interest, different from those who are not central to the story being told. This is the director’s way of sustaining an established style where preference is given to medium shots in interior actions.
The fact that the shots in the movie are deliberately taken is further seen as the same choices of shots are repeated when action moves to Nsukka from Kano. The aerial shot establishes the town and the medium shot is used for the interior actions between
Odenigbo and his new house help (Ugwu) who is brought from the village. The cut from Odenigbo to the house help provides the opportunity to see the naivety of the house help through the expressions on his face. This is again professionally motivated as the same impact will not be made on a medium or long shot where the scenery of the sitting room will be competing with Ugwu’s actions and mannerism.
A long shot is used in Odenigbo’s house to take attention to the new look of the house after Olana returns from Kano and tidies up the house, thereby giving it an aesthetic face lift. After this, emphasis moves to Odenigbo and Olana in a romance mood. The tight shot on them de emphasises the scenery. That way attention remains on the only thing that matter at that time.
4.3.2 Sound and Music in Half of a Yellow Sun
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What is likely to immediately strike a first time viewer of the movie is the sound level. It is constant on a particular pitch. It does not fluctuate and this simply means that relative to the source of sound, appropriate external microphones are used. This may have been enhanced at the postproduction level but credit must be given for on-the- scene recording of sound. And it must be said that a feat like that can only be achieved by professionals.
Both sound tract (music) and dialogue, sound effects (footsteps, clatter of utensils, car engines and screeches etc) are all on the same level. It is observed that even the chaos and pandemonium that characterize the killing of the Igbo in the airport and the Kano market scenes did not affect the proper management of the sound level.
The sense of the confusion is achieved but not with deafening sound levels that an amateur would most likely introduce. Even the accompanying sound effect that is supposed to establish a chaotic mood is also carefully managed within the sound level limit.
Similarly, the sound from the turn table at Odenigbo and Olanna’s wedding is managed to a level that it is not unnecessarily above the sound that people are making, thereby allowing people to keep track of the dialogue while still getting the feel of the music.
It will be observed that the sound from the archive footages is not exactly at the same level as the recorded footages. But this is understandable considering that they are shot at different ages by different people, using different sound recording technologies.
The scene in Port Harcourt when Richard arrives from London to find out that the
Republic of Biafra has been declared has a lot to say about the movie makers understanding of sound. Richard is with Kainene in her apartment overseeing a river.
The way the whispering sound from outside (typical of such environment) and the
67 sound of their dialogue blend together is commendable. Even though the water is not seen, that sound tells that the house is by a river in the same way that a car sound would have suggested that a house is located by the road side. Outside sounds are as good as indoor sound recording. No intruding noise from the environment except those allowed to intrude for the purpose of achieving certain effects, for instance the sound of the river.
It is interesting to see how even whispers are brought to the same level (when mama was asking Olana if she would marry her son for instance.)
Music is also part of sound. Apart from the sound level of the music another thing that is of interest is the choice of particular music for specific occasions or situation. The music that plays in the club is of the sixties and was very popular about the time that Nigeria got her independence and so is appropriate for the scene.
4.3.3 Lighting in Half of a Yellow Sun
Lighting is very important to film shoots. Like the painter starts painting on a blank canvass, the filmmaker begins every scene with an unlit space. It is unimaginable for any filmmaker, not even an amateur, to take shots without lighting the scene. If that ever happens the result would be flat images smeared by all sorts of shadows competing with the images.
The makers of Half of a Yellow Sun are evidently not unaware of this all important requirement for professional filmmakers to light the different scenes with appropriate lights that will help outline shapes of objects and humans and define the atmosphere or mood of actions.
The movie opens with celebrations in the street over Nigeria’s independence and from there the makers leave no one in doubt about their understanding of light usage in professional film shoot. In chief Ozobia’s house the Honourable minister of
68 finance is being hosted to a dinner at the same time that the independence celebration in the street is going on. It can be said that the basic three-point lighting is used because the problems of shadow cast and dense or flat images are effectively taken care of. The fill light and the back light are no doubt employed to cooperate with the source light in ensuring that shadows are eliminated and that the camera captures images and objects with their distinct features properly outlined. What may look like flat images would appear to be deliberate because there is the need to create a dinner atmosphere and mood. The fluorescent lights needed to brighten the scene are under utilised in order to achieve this dinner mood and atmosphere. This lighting proficiency holds throughout the movie.
When the party scene where Kainene meets Richards and the club scene where they both go to club, as well as the many romance scenes are analysed, it will be observed that there is a conscious attempt to use light to create proper atmosphere and mood. The club scene is as flat as the dinner scene as well as the several romance bits while the cocktail party where she meets Richard is well lit.
Through the windows of the sitting room the viewer can see the sparks of the fire work which again is deliberately used to communicate the festive mood in the street. The absence of street lights that usually define such scene is also deliberately avoided for communicative purpose. Nigeria has only just attained her independence and so does not have the luxury of lining her streets with light.
Due to the changing nature of natural light in outside shots, artificial lights have had to be brought in to help define the movie time and atmosphere.
4.3.4 Continuity in Half of a Yellow Sun
From one shot to the other, events in a movie is expected to maintain consistency. And this has always proved to be a difficult tax for filmmakers to handle.
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In line with the basic continuity considerations in movies, continuity in Half of a Yellow
Sun will be scrutinised in the areas of acting, costume and props.
As far as costume continuity is concerned, there is a sense in which the makers of the movie may be said to fall short of certain professional expectations. But again there are areas where credit must be given for consistency and professionalism.
When kainene and Olana leave their parents with the commissioner for finance at the dinner table one gets the sense that they are heading for the independence party.
Nothing suggests that they are going to change into different dresses. To see them in the next situation (inside the car on their way to the party) presents a continuity problem.
Similarly, kainene is spotting a flowing weave on hair when Richard calls her the day after they met in the independence party to invite her to a live band later that night. In the live band party she spots an afro weave on. Time may have passed because even her dress has changed but that time seem too short for her to remove the weave on which has not shown any sign of wearing out.
It makes continuity sense the way that Odenigbo’s eye glass is managed in the movie. He has a reading glass and one that is not meant for reading. Makers of the movie meticulously manage the glasses such that the one with the perforated handle is strictly meant for reading. That is the glass he uses when the viewer encounters him initially in the scene where he reads the newspaper and addresses Ugwu. It is the same one that he uses in the scene where Olana quizzes him over sleeping with Amala. Even though sufficiently confused, it is the same glass with perforated handle that he wears when he pretends to be reading. The other glass is the one he uses at other times other than when he is reading.
Being the only elderly person in the movie, Mama’s dressing very easily catches viewers’ attention. It may be said that the makers of the movie are aware of this as they
70 make sure not to make any mistake about her headgear, earrings and dresses. Even when she changes dress the connectedness in the type and mode of wearing the dresses are easily discernible.
Olana may have come across as a freak for ornaments when she is initially encountered and requesting her sister to help her with an obviously expensive necklace.
But it becomes clear that it is for the purpose of the independence celebration that she chooses to use the necklace. This is so because subsequently she does not bother about ornaments and this is sustained throughout the movie. Kainene is classier in nature and so is made to use earrings throughout.
It must be said that it is not by accident that Odenigbo’s girlfriend, Lara Adebayo is seen everywhere with a cigarette. It is to sustain her established status as a carefree outgoing lady. For continuity purposes, having introduced her initially holding a cigarette, it has to be sustained and this cannot be but professionally motivated.
In the area of acting, makers of the movie ensured that continuity is not compromised. Kaine is cast as saucy, reserved and classy while Olana is simple and somewhat naïve. The carriage, nuances and dictions that portray their different dispositions is defined from the beginning of the movie and sustained till the end.
While kainene is given to graceful smiles and giggles, Olana laughs full throated and these is carefully sustained, making a strong commentary for continuity in acting.
Even when Kainene is seen to be enjoying the dance at the live band party, she maintains her unassuming posture. On the other hand, Olana’s defined disposition to issues holds through the challenges she has to deal with. The meek approach she employs in dealing with Odenigbo whenever he offends her is the same she employs in handling Mama over Amala. All of thse she achieves through a consistent mannerism.
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Generally speaking, the one credit that must be given to the makers of the movie is getting the actors to be consistent. From Odenigbo to the twin sisters and Mama, as well as Ugwu there is evidently sustenance of character emotionally and physically.
Ugwu’s naivety and submissiveness as well as Mama’s stubbornness and inordinate pursuit are maintained to a credible extent.
With regards to props, there are a few examples to show that continuity is handled with professional ability. The office scene where Kainene answers her sister’s call provides a good example. The glass windows allow a view of palm trees that one gets encounters again when later Kainene is seen answering Richard’s call from the same office. The palm trees are just where they were initially. So also is the office setting in both scenes. The chairs, table and noticeable items like the reading lamp, telephone, in and out basket trays, office stamps and many other are carefully positioned to achieve continuity. The few items that are not exactly where they were initially is in tune with the naturalness that films are expected to depict. All the objects on the table and around cannot always be at the same spot each day. Naturally some are bound to change position or be removed totally.
Attention must also be drawn to Odenigbo’s apartment, especially from when
Olana rearranged it. Later when Mama has accomplished her mission and is ready to leave with Amala the scene remains almost the same. The talking drums against the wall at the entrance to the sitting room, the paintings, the statue on a table and the chairs are in their initial positions. Again, it is natural that some things change positions.
Save for the lorry that is in front of Odenigbo’s car when trouble broke out initially and people are seen running to safety, the other vehicles that are used in the movie are right hand drives in agreement with the reality of the period that the movie is
72 set. That cannot be an accident. It is deliberately done for historical verisimilitude and continuity is maintained in this respect.
Even though the movie is shot in 2013, the makers avoided the temptation to use hand sets to make phone calls. Even the call Richard puts through to Kainene from
London is done on a landline. The beauty is that this is sustained throughout the movie.
4.3.5 Costume and Make-Up in Half of a Yellow Sun
As implicated in 3.2.5, the costume and make-up artist must know about patterns and periods. With respect to understanding periods, the costume and make-up artist in Half of a Yellow Sun did not do badly. People may want to argue that the dresses of Olana, Kainene and their mother at the beginning of the movie are not reflective of Igbo ladies in the sixties, or of what trended in social circles in Nigeria of the sixties. This may be right but it must be understood that they have just arrived from the UK and are wont to dress like the English do at that time. The fact that the costume and make-up artists understand history and periods will be better appreciated when the dress mode of Kainene and Olana is juxtaposed with that of the other women at the soiree (evening party) they attend at the beginning of the movie. Because the soiree is in cosmopolitan Lagos, we see an expose of different Nigerian cultural dresses. This is carefully thought out by the costume and make-up artists.
A splash of the dress code of Nigerians in the sixties is effectively exhibited in the live band party that Richard and Kainene attend. The atmosphere in that scene is reminiscent of a Nigerian party in the sixties. It must be said that unlike the soiree, the costume and make-up artists understand that the party is solely Nigerian. As a result,
Kainene, like the other ladies in the party, is made up with an afro hair and costumed with a sleeveless tight-fitting mini gown that trended in the sixties, as well as high heeled shoes.
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Lara Adebayo, one of Odenigbo’s many academic friends cuts the image of an elite Nigerian lady in the sixties with her afro styled wig. The choice of dress for Mama and Amala is unequivocally apt for their characters. The costume and make-up artists effectively used them to paint the image of village women. Mama’s headgear and the made-up grey hair that sticks out from underneath it, as well as the way her wrapper wraps around the upper part of her breast are typical of women her age from the village.
Deserving of greater applause is the ‘calabar’ hair style and long skirt worn above breast that the costume and make-up artists use to define Amala as a typical illiterate village girl.
As a revolutionary one would have preferred Odenigbo being anti western even in his dressing but he is seen in English dress a few times. When he is not costumed in
English dress or in an elitist sports wear, he wears either the ash, pink or brown colour of a particular T-shirt and trouser which defines him more as a revolutionary. This is a professional way of projecting the duality of personalities that define him.
Each time action shifts to Kano it is easily noyiced. All thanks to the costumier for the way actors and actresses in the crowd market scenes are attired. The kaftan and caps, as well as the Hijabs appropriately capture the Hausa. Mention must be made of the proficiency with which the costumier handles the people at the Airport scenes. They are seen in different attires, reminiscent of every airport. Unlike the market where there is a predominance of the Hausa who buy and sell, the airport presents a different picture. The same medley of dresses is seen at the airport in the East where the Igbo are singled out and killed by federal troops.
The contrast in the dressing of Odenigbo’s house help and that of Richard’s house help is commendable given that the costume and make-up artists most likely conceived of this difference in costume to differentiate between Ugwu who is a village
74 school drop out and Richard’s house help (Harrison) who comes across as a professional cook.
At Odenigbo’s wedding to Olana Ugwu is seen in an entirely different dress from the khaki and shorts he has become known with. The costumier is driven to dress him so because he is the only family they have at that time and this explains the motif behind what would ordinarily have gone down as a sudden transformation. And the glasses that he suddenly wears too may just be the costumier’s way of commenting on
Ugwu’s admiration for his master who is known to wear a similar type of glass.
4.3.6 Speech/Dialogue in Half of a Yellow Sun
The professional handling of such things as dialogue, monologue and narration in Half of a Yellow Sun is what will be of concern here. Being that film is essentially a visual medium, it will be interesting to see how sparingly, in line with professional filmmaking technique, makers of the movie Half of a Yellow Sun use speech only to supplement action. Equally aware that visual alone cannot advance the plot of the story, thereby making speech to be important in movie, the different aspects of speech – dialogue, monologue and narration will be considered.
Narration is a constant motif employed by the director of the movie to tell its story. Being an adaptation of a historical narrative and because audiovisual recordings of this history is available, the director chose to leverage on them and though people have criticised this, saying that the movie would have been better if totally acted, there is a sense in which it has added value to the movie.
Complementing the visuals, the narrator’s voice helps to bridge some very important historical realities that would have been quite difficult to achieve, especially considering that resources available for shooting the movie is not the most impressive even though it is a record amount in Nollywood. Perhaps it is as a result of this reality
75 that the director chooses to use film narration from the objective perspective, thereby allowing the viewer to see the movie images of historical realities through the prism of an unseen narrator. This would have been difficult to achieve through re-enactment.
It is known that many Nigerians abroad came back home after independence to be part of building the country. The opening narration talks about the independence of
Nigeria thus: ‘…for this is no longer a people in colonial subjugation but a free Nation with its feet already firmly on the road to self governance…’ This prepared the ground for meeting chief Ozobia’s family (an epitome of these Nigerians) and the different celebrations attendant on the independence.
The Narration on how General Aguyi Ironsi took over in the coup where many
Northern officers were killed gives a mental picture of what happened. This would have required so much money if it were to be re-enacted. And it must be said that there may hardly be any re-enactment that will paint the kind of picture one gets of the situation from the narration.
Similarly, a re-enactment of the killing of General Aguyi Ironsi at Ibadan by Northern troops six months after he abolished the regions to the dislike of the North would have presented an enormous challenge. The way the Northerners took advantage of that situation to let off their pent up anger at the Igbo who migrated into their own regions would also have been challenging if it were to be re-enacted. The Narration covers for all of these and it is admirable the way the narratives fuse into the archival footages in the movie.
There are many points where the director used subjective narration wherein characters in the movie tell aspects of the movie’s story. For instance Ugwu subjectively tells the story of how the failure of his father’s crop led to him dropping out of school. The fact that the camera zeroes in on Ugwu as he narrates this shows a
76 great sense of professionalism on the part of the director and or the cinematographer.
This is further enhanced when later in the movie, Odenigbo tells Olana, also from subjective perspectives what happened between him and Amala the day he had sex with her and how the Biafran soldiers at the road block refused him passage on his way to go and bury the remains of his mother who was killed in Abba. Again the fact that the director and/or the cinematographer is professionally worth his onions is confirmed as the camera closes up on Odenigbo on both narratives.
Professionally, dialogue in movie must be used in such a manner that it does not substitute visual. In other words, it must be used sparingly, only by way of assisting in telling the films story. Professionally, the speeches that must be made are only those that will advance the plot of the story. It would appear that the makers of Half of a
Yellow Sun know about this professional requirement. It must be as a consequence that all Kainene and Olana said at the beginning of the movie relates to the finance minister who has come to dinner to discuss business with their father chief Ozogbia and who also has an eye for them. He is the person that matters in that scene and so their mother does not meddle into their discussion but goes straight to invite them to table to meet the minister. This is necessary to move the plot of the story to the next situation.
Rather than unnecessary talk about the food, the elegance of the sitting room, the gaiety of the ladies, or waste time on unnecessary arguments. The minister goes straight to offer a job to Olana which she turns down, revealing that she would be leaving Lagos having taken a job in the Department of Sociology in the University of
Nigeria. This set the stage for her involvement with Odenigbo in the university.
The minister’s invitation to the girls to visit the house is equally turned down by
Kainene and Olana, the former explaining she would be going to Kano to see her uncle
77 while the latter directs attention to the fact that she would be handling the family business in Portharcourt.
It is interesting to note that the scenes that follow have been mentioned in the preceding conversations. This goes to support the fact that only speeches that can move the plot of the story is relevant in movies. At Kano Odenigbo becomes the important issue as Olana is expected to move in with him later.
However simple that might be, it must be said that dialogue between Odenigbo and Ugwu, like many others to follow, is well handled considering the movement of the camera from one person to the other for emphasis, depending on who is speaking. And this runs through the entire movie where two or three people are dialoguing (and the movie is replete with such scenes). Incidentally there is no monologue in Half of a
Yellow Sun so there will be nothing to analyse with regards to that.
4.3.7 Acting in Half of a Yellow Sun
Acting for the film is more realistic than stage acting where exaggerated acting is allowed. One cannot but mention the realistic acting style adopted by the actors in line with Lee Strasberg’s ‘Method acting’ (which requires actors to try to emulate the exact emotions and feelings of the characters they are to play) and Sanford Meisner’s technique of acting (which is imagination based). Accordingly, speeches and reactions are evidently realistic and professional.
The opening actions, for instance speaks volume in support of this claim. The right Honourable Minister for Finance, chief Okonji offers to employ Olana in the
Ministry. Were she interested, the right reaction is to be excited but she already has a job offer in the University of Nigeria, Nsukka and so does not need it. In stead of being excited she reacts with an indifferent body expression. This reaction is not only natural but also creates a sense of believability.
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As Elia Kazan said, acting for the screen is a more honest trade. What he implies is that acting must be real, that it cannot be faked. It is the same thing that Lee straberg’s ‘Method acting’ and Sanford Steinberg’s technique of acting are advocating.
They are both informed by the spirit of realism in acting and it would appear that each of the actors have adopted either of the two acting styles or combined both in realising their roles.
The general atmosphere in the independence party that Olana and Kainene attend is an apt recognition of the need to be natural with acting in films. The movements, the relationships with one another, the speeches and responses, as well as emotional reactions are carefully orchestrated in line with realistic acting. One situation that is a high point in that scene is when Kainene asks Richard Churchill to make way for a photographer that wants to take a photograph of her. Kainene’s reaction to the bounce of the flashlight is commendable. Classical ladies, the type she represent in the movie, would behave similarly, especially when they want to impress.
It is empathy that invokes Odenigbo’s reaction to Ugwu’s insistence on cooking fried rice for Olana (the important visitor being expected) even when he doubts Ugwu’s ability to make fried rice. The way he looks at Ugwu shows his connection to the feelings of Ugwu, and knowing that Ugwu truly wants to cook the rice, gives him the nod to do so. This is very professional considering that it brings to bear the principle of recognising and sharing the feelings of the other actor(s) in film acting.
Believability is one thing that is professionally pursued in the movie. A striking example draws from the scene where Odenigbo goes to take Olana back to his place promising to talk to his mother over her behaviour towards Olana. They end up in bed and make love. The love making is believable as her boobs are bare and visible. Her responses to his thrust in and out of her give the sense that they are truly making love.
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The situation in the airport is equally professionally handled. The shootings seem real and the way the shots take down the targets is also commendable. Fear naturally takes over and the reaction of Richard when the leader of the killer squad approaches him is top realistic acting.
One area where one may frown at the acting is the mayhem in Kano when
Olana’s auntie is dragged to where she is eventually killed. It looks so unreal considering that the young man who seizes her, drags her with one hand and she did nothing to break away and run. To get a child cry the way Odenigbo’s daughter did when the bomb tore Odenigbo’s friend to shreds is commendable. The confusion and sound of the bomb blast is near real such that the child becomes truly scared. She is seen screaming and calling her mother.
4.3.8 Ethical Issues in Half of a Yellow Sun
Quality and cultural decency are important to film production anywhere in the world. In order for films made in Nigeria to effectively meet its responsibility of shaping its people and culture, the National Film and Video Censors Board (NFVCB) operates a National film policy that seeks to protect the citizens, especially the youths from the adverse effect of corruptive and negative influences of movie content like adult content, offensive languages, violence, drug addiction and crime. It is expected that the makers of ‘Half of a Yellow Sun’ were guided by the ethics that guide professional filmmaking. The Director of the movie has been criticised for paying more attention to the plot of romance in the movie than the plot of war. That may be true. But what is important to this work is the handling of romance in line with the ethics of filmmaking. The makers of the movie and the National film and video censors Board did not handle nudity and sex properly thereby showing insensitivity to the cultural and religious values of Nigerians.
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The scenes where Odenigbo makes love to Olana and Amala are adult contents.
They may not be explicit sex but are close to reality. The actions should have been suggestive of sex. And if the sex scenes must remain, it necessarily should be rated for the purpose of parental guide and control. That way the sensitivity of children would not be abused and cultural, religious and social values would have been protected.
Olana’s vagina may not have shown in the scene where she steps out of the bathtub naked but her boobs, a sensitive part of the woman’s body, is displayed. All of that is unprofessional and unethical.
Other things like offensive languages, violence, drug addiction and crime are obviously better managed. For instance rather than use a vulgar language, Kainene asked Olana if she would be spreading her legs for the Honourable minister ‘to help
Daddy get his contract?’ that is professional and ethical. Language used throughout the entire length of the movie is sensitive to vulgarity. The different independence soirees and the refugee camps are potential drinking and smoking scenes. But all of that is avoided and the right atmosphere and moods were still achieved.
4.4.1 Cinematography in The Figurine
The ‘Figurine belongs to the Horror/thriller genre. As a consequence, a lot of camera manoeuvring for proper portrayal of the director’s thriller vision is required.
The movie opens with a prelude captured through an objective narration. The director leaves no one in doubt about the need to use camera to create the right mood and atmosphere in a thriller movie. How he managed to achieve this is what is being interrogated.
As the narration unfolds, a medium shot on rustling trees is taken. The eerie effect that the director seeks to achieve is assisted by moving the camera such that the rustling leaves slowly move in the direction of the lens to achieve a fade close-up of the
81 tree trunks and leaves. They become moving mirages amidst whistling environmental sound and the cackling and crows of domestic birds. The eerie effect is effectively achieved.
The images in the prelude are captured differently from those of the here and now in the through colour contrast. It is not surprising that the movie received praise from critics for its brilliant cinematography.
It is Professional the way interior scenes involving dialogue of two or three people are shot on medium. When emphasis is on one person a tighter shot is taken.
Example is the scene where Sola goes to the office of Mr. Fidelis in search of job, and the one in the lecturer’s office.
Contrastively, long shots are used for outside crowd scenes. That is equally commendable. In the garage scene and all other outside crowd scenes in the movie for instance, long shots are used to help establish settings.
Camera movement and tracking are effectively employed in the hostel at the camp and the office scene where Femi does his youth service. To establish the hostel and office, the camera pans before zeroing in on Femi for emphasis.
At the forest where Sola and Femi hear a frightening sound, the camera is expected to do a lot to achieve the right mood and atmosphere. The rain and lightning that follow the sound are not convincing. A rapid in and out movement of camera and a few tilts are preferred choices of shots to set the mood for the unusual things that began to happen once Sola carried the sculpture from the abandoned hut where they run for cover from the rain.
4.4.2 Sound and Music in The Figurine
The kind of balance in sound recording that is achieved in Half of a Yellow Sun
May not have been attained in Figurine considering the fluctuating levels of recorded
82 sounds and echoes from the different scenes. Whatever the director’s reason for allowing the intruding surrounding sound in scenes like the university campus and the motor park, it did not do well for the movie. The surrounding sounds compete with recorded dialogue when compared to the scene where Femi’a asthmatic complications prevent him and Sola from moving on with the other corps members during an endurance trek. In that scene, the surrounding sound of birds chirruping blends so much with Femi’s impaired breathing. Similarly, the sound of boots on parade at the NYSC camp is evidently out of tune with drill instruction.
But there are many professional positives in the way that the director uses sound and music to create appropriate mood and atmosphere. The opening situation in
Araromi village concerns a relationship between humans and the spirits. In order to set up the right atmosphere and mood, the director did a mix of whistling and buzzing eerie sound that is spiritual with mundane sounds of domestic birds and animals. The sound is made to intermittently rise to a crescendo and fall. Then comes lightning that sends the villagers scamper in different directions.
To establish a normal day in Lagos, the sounds of moving cars in the usually busy streets blend with every day jazz music and surrounding noise. Femi arrives home amidst this atmosphere. As soon as he approaches the room where his sick father is, the sound changes to the eerie one. This is well thought out because his father’s sickness is connected to the goddess Araromi in some ways. Together with the unusual breathing of his sick father, the sound creates the same creeping feelings of the opening situation.
4.4.3 Lighting in The Figurine
The Figurine has gone down as one of Nollywood’s best. It must be known that lighting in movies account for a substantial percentage of its appraisal. The cinematographer may be creative and imaginative, but the work will come out poor if
83 light is not enough and/or appropriate. What is enough to capture the right picture in a particular scene might not be sufficient or appropriate for another. As a result, the lighting Manager must have the skill and ability to introduce the right proportion and type of light for every situation.
Generally, one can hardly fault the lighting in The Figurine throughout the movie. Time, situation and mood have guided the lighting Manager in the lighting of the different scenes. for instance, interior scenes are lit differently depending on the time of the day and the mood surrounding situations.
Though the afternoon and the weather are quite bright when Femi arrives home to announce his posting, the room where his sick father is lying does not reflect the time. And that is deliberate. The dim lighting of the room is used to complement the unhappy situation that envelops the family. The director allows a ray of bright light to fall on a part of the room and to reflect on the face of the sick man for the purpose of outlining his facial features and to remind the viewer that the scene is taken in the afternoon. Though the sitting room is better lit than the bed room, the light is still not enough. This is because of the mood in the house.
Considering this low intensity of light in the sitting room, shadow is allowed to cast. This is in line with real life situation. It will be observed that the office scene where Solo goes to look for job is better lit and the different lights are positioned to knock out the shadows.
It must be said that low budget played negatively in some aspects of lighting in the movie. For instance, the office of the Dean is large and because there is not enough light to illuminate the entire space, the lighting manager and his team had to concentrate the few lighting facility to cover areas where action moves to in the scene.
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The result is that while these active areas are lit enough, the other parts of the office and the relics in them are hardly visible, especially in long shots.
The effect of lightening added at post production to the forest scene where the rain comes down and forces Sola and Femi to run into the hut where they discovered the sculpture is quite professionally done and credit must be given for that. In the dark hut, the flame from the firelighter only serves as motivation for light to be introduced.
Credit must be given for the intensity of the light introduced. It is just enough for the purpose of illuminating the hut. Again that is perfectly done, especially because the make belief source of light (the firelighter) is sustained throughout that scene. The same technique is effectively used in the bonfire night gyration.
4.4.4 Continuity in The Figurine
Continuity has always been a challenge to movie makers. The director of the
Figurine, Kunle Afolayan seems to be aware of this and has done a lot trying to achieve professional standard. It will be interesting to discuss costume continuity with respect to Femi and Sola. The movie is broken into two parts of seven years each and so the characters are made-up to look younger in the first seven years than in the second. In all the scenes preceding his return from abroad seven years later, Ramsey Noah’s reclining hair line is padded to make his character, Femi look younger. When he returns from abroad, a much older person, the padding of the hair line is removed. Similarly, he stops using his medicated eye glass after returning from abroad.
Sola does not spot hair on the side of his face until seven years later when he too has mature. The way the makers of the movie manage this shows their understanding of costume and make-up continuity in filmmaking.
Of course one problem area is the Camp military officer who is initially presented as a private in what looks like an air force uniform, considering his cap.
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Seven years after his cap turns to that of a soldier. And one wonders if it is possible for a private to become a full lieutenant in seven years.
With respect to prop continuity, the Dean’s office provides a basis for analysis.
What the office is when Sola goes to have his clearance signed by the Dean is different from the one Mona goes to see the Dean years later. This is not a continuity problem because the initial office is the Dean’s and the latter is a personal office. The parrot belongs to the character who occupies the first office as Dean. After completion of his tenure as Dean, he moves to his office with the parrot.
There are several examples in the movie with regards to continuity in acting. A few appear not properly handled but sustenance of character and action are respected to an appreciable degree. Sola’s shenanigan and flirtatiousness runs throughout the movie.
He turns a good husband and father as a result of the success brought by the goddess
Araromi. His suave and lascivious nature returns after those seven good years. The same might not be said of Femi who comes across as a true friend but suddenly begins to kill. His character is neither consistent nor inconsistent in the same way that Sola’s chewing gum eating habit is not regular. He suddenly drops the chewing gum at the camp, only to go back to it at his wedding, several scenes after the endurance trek scene where he dropped it. That is a problem with continuity in acting. Mona’s amiable and loving nature survives the length of the movie. The same cannot be said of Lara who the brother accuses of abandoning home and beginning to drink alcohol. That part of her is strange to her brother who cannot see reason for that switch in character.
4.4.5 Costume and Make-Up in The Figurine
The costume and make-up artists in The Figurine must have invested time and resources in designing for particular characters in the movie. Appropriateness is key to designing costumes for characters. From the chief priest to the Dean who is a professor
86 of archaeology and Femi’s father who is a sculptor, as well as Femi, Shola, Mona,
Linda, Lara and other characters in the movie, efforts are seen to be made for them to be appropriately costumed.
The chief priest is not defined by bushy eye lashes and beard made to complement his carefully made fetish priest-like cloth. Apart from standing him out as a priest to a fetish goddess, his dress and make-up also partly account for his good acting.
Before the goddess Araromi begins to bless them, Femi, Sola, Mona and Lara are costumed in simple and sometimes funny saggy dresses to tell their economic status. All of these changes for better and costly dresses that befit their new status as soon the blessings of the goddess Araromi begins to make the difference in their lives.
The Dean is an archaeologist that is culturally inclined so his Nigerian hand made dresses suit his character. The same can be said of the camp officer in his camouflage, the police constable at the camp gate and the corps members themselves are made to dress in exact uniforms.
4.4.6 Speech/Dialogue in The Figurine
The objective narration at the beginning of the movie is done by Lagbaja. His voice and pronunciation are commendable. Because film is essentially a visual medium, the director’s employment of the narration technique is probably for the reason of allowing the visuals to tell the story.
Film relies more on its visual than it does on dialogue. This professional fact about the art and technique of the movie is evident in The Figurine. The scene where
Femi returns home is critical to this prescription. The visual tells almost all the story in that scene. Only important comments about what is to be expected in subsequent scene are made. This understanding of the power of visuals in filmmaking is not a fluke
87 because it runs throughout the whole movie. For instance, all the way to Araromi nothing is said by anybody in the bus and no message is lost as a result. The visual tells the story through actions and expressions.
4.4.7 Acting in The Figurine
Professionally, the director of a movie calls the shots and ensures that everything is tailored to realise his vision for the movie. That is a handfull any day.
Surprisingly the Director of The Figurine, Kunle Afolayan decided to act a major role in it. The reason may be pecuniary as usual but another person for that role would most likely have done better under his watch as Director. He is not totally convincing as an actor probably because as producer and director the person who assisted him could not fault his acting. Most of his effort at realistic acting is hardly convincing. The naturalness of acting in the scenes where he is not acting (which means he directed the scene himself) attests to the fact that he is not as good an actor as he is a director. A good example is the scene where Mona invites Femi out to discuss some issues.
Mona’s ability to sustain her amiable character throughout the movie is a reflection of what the director must have done to all the actors and actresses to help them interpret their roles and define their characters. It is amazing the way Linda manages her saucy and pouty attitude in the movie. She intermittently needs to do a bit of over acting and she manages it very professionally.
4.4.8 Ethical Issues in the Figurine
Between the filmmakers and the National Film and Video Censors Board, issues of explicit sex and offensive language are handled in line with the National film policy that seeks to protect the citizens from the adverse effect of corruptive and negative influences of movie content. Like the movie, Half of a Yellow Sun there is the plot of romance in The Figurine. But save for a few kisses here and there, sex is not dwelt on
88 anywhere in the film even though Sola flirt with Lara, Ngozi and Linda, and that Mona is twice pregnant for Sola. It is one movie that the family can watch together with children. Vulgar and offensive languages, as well as offensive dresses are almost totally avoided in the movie.
Violence and deaths that must be shown are done with a view to reducing the effect on the viewer. Junior drops from a height and dies but his body is not shown.
Femi’s father and Mona die without being physically assaulted. The blows that kill
Linda and Sola are made as minimal as possible.
4.5.1 Cinematography in Phone Swap
Drawing from the cinematography analysis of The Figurine, one may say that
Kunle Afolayan’s visuals are usually properly thought out with his cinematographer for the purpose of effective communication. From the opening credit one gets a feel of this.
The background images against the names of Wale ojo (Akin) and Nse Ikpe Etim
(Mary), the characters that the movie is all about are designed to communicate to the viewers. We see things like books, tie and suit that are associated with executives when
Wale Ojo is inscribed. With Nse Ikpe Etim we see a mannequin attired in a Nigerian made dress and a tailor’s measuring tape hanging down the mannequin’s neck. There is also the image of the sewing machine, all of which point to what the major characters in the movie do.
The analyses on cinematography as done in the other movies show that there is preference for wide angle shots in outside scenes. This is usually used as establishment shot, from where objects and persons of interest may be closed up on and the tighter varieties of medium close up and above the shoulder shots are favoured for interior scenes, save for when the setting is of interest. This technique is equally adhered to in
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Phone Swap. Throughout the movie, outside shots are wider and longer than the interior shots.
The use of split screen to accommodate telephone conversation in the movie is professional and commendable, especially that there is no attempt to create a seamless view. This shows an understanding that the people talking are talking from two different locations. The first telephone conversation between Akin and his mother is powerful. It is the elegance of the surrounding to the mother’s house that we see as she talks to Akin. This immediately tells that she is wealthy. And when the camera pans to reveal her, we find a confirmation of class and affluence in her.
4.5.2 Sound and Music in Phone Swap
The alarm that wakes Akin up in the beginning of the movie is sound that the director uses to describe time. It shows that it is dawn. Though abstract, the opening jazz music suits the time of the day just as the hiss by Akins girlfriend who is still in bed when he is doing his morning press up exercise shows that Akin hardly has time for her. This fact eventually plays out in the movie. The sound Mary makes when her phone rings shows that she is answerable to a no nonsense person. That too becomes evident as events in the movie unfold. It is delightful the way a local Igbo high life music mixes with hip pop music at the quick movement from Lagos to Owerri and back again. It is used to tell the cultures of the two settings.
The music that plays when Akin comes in to find that his girl friend has rearranged the house suggests that something unpleasant is going to happen. He does not like the fact that she is beginning to treat the house as though she owns it. he goes on to collect the key to the house.
Alexis is by the road side. It is a good technique that the sound of moving cars are heard when action is inside the tailoring shop.
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The different points in the movie where sound and music are used to set up atmosphere and mood are numerous and commendable.
4.5.3 Lighting in Phone Swap
As far as the main purposes of lighting in a movie are concerned, the lighting in
Phone Swap may not have done perfectly well but has tried to be professional in most aspects. It is apparently wee hours of the morning when an alarm and a phone call wake
Akin and Mary up from their sleep. It is a professional prescription that lighting should help in communicating time and place. To this end, a low light suggesting dawn would be appropriate. But the light that is used is too strong for that time of the day and so may be said to be unrealistic.
In other areas like helping to shape the images and objects, and ensuring that actions in the movie are visible to the viewers, the lighting manager in Phone Swap did not do badly. The interiors are well lit and expectedly the outside scenes, mostly shot in the day time, are equally okay. For instance, the lighting in the scenes where lunch is eaten in Akin’s mother’s house in Abuja and Cynthia’s Father’s house in Owerri are not the same. This is deliberate and professionally handled in line with the use of light to communicate. Because the Abuja house will be expected to be well ventilated and lit with electricity, the director ensured that it is well lit to give that sense. On the other hand, the house in Owerri is expected to be poorly ventilated. And since there is no light as suggested by the fan and television not working, the director allows just enough light for visibility.
The night scenes in Owerri when they all go to sleep, Lagos when Mary’s lover sneaks out of bed to call her, and Abuja where Akin’s mother and Mary drink wine before going to sleep are well lit from outside to inside. One just gets the sense that they are night scene.
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The level of the sound and music in phone swap is as good as the one in The Figurine.
Speech, sound and surrounding noise are managed such that nothing is lost in the dialogues. Example is in Alexis when Mary rushes in to deliver the sewn dress. The ensuing dialogue and the clatter of sewing machines blend with the sound of moving vehicles and machines in the street. Several other scenes like that dots the movie.
4.5.4. Speech Dialogue in phone swap
The movie is a comedy of sorts so more spoken lines are expected than we have seen in the other movies analysed. In spite of that the spoken lines in Phone Swap are carefully assigned and delivered in a sparing manner. Like in the other movies analysed, the director obviously understands that the movie is not theatre, and that though Phone Swap is a comedy, its dialogue should not be allowed to substitute action.
The director may have been tempted to use the narration technique at the beginning of the movie. But he decides to allow abstract sound and visuals to set the tone and mood for the movie. Nothing is said until the alarm wakes Akin up and he begins his press up exercise. It is then that his girlfriend tries to woo him to bed by saying that he works himself too hard, suggesting he should join her in bed and rest.
4.5.5. Continuity in Phone Swap
Akin is arrogant and Mary is easy going, naive and loving. The psychological aspects of their characters are evidently sustained throughout the movie. Their mannerisms, carriages and diction do not alter throughout.
In the first of the many scenes in Alexis, the sound of sewing machines blends with the other sounds. But somehow the sound of the machines disappeared in the subsequent scenes. That is not good for continuity.
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The life span of the movie is two days so maintaining the hair styles becomes easy. The actors keep their looks throughout.
It will be observed that it is the same jeep that drops Akin at the airport initially that picks him and Mary at the end of the film.
4.5.6 Acting in Phone Swap
Like the other movies analysed, Phone Swap leans towards realistic acting.
Though a comedy, the director did not allow it become buffoonery where actors overact with the intention of causing people to laugh. The general acting style is realistic acting.
Akin, Mary and Akin’s mother are students of Lee Sraberg’s ‘Method acting’ throughout the film they are encountered in the same acting mannerism.
Cynthia, Gina and Alex Ojo (Akin’s assistant) probably over acted but credit must be given for the way that they are able to sustain their actions in all the scenes where they appear.
Akin and Mary may not be jesters but the twists and turns in their relationship are truly funny. Akin’s ability to sustain his pride and Mary’s ability to remain naïve and loving all through is no doubt good acting and deserves commendation.
Alexis, Madam CEO and Mrs Ibekwe may be the few actors that have failed to impress with their acting. This may be connected to the pecuniary or other issues.
4.5.7 Ethical Issues in Phone Swap
The movie Phone Swap is a romance comedy. Consequently the sense of love, romance and all that is associated with them is strong in the movie. But it is amazing the way that the director made sure there is no kissing or sex. It is known that Akin is in a relationship with Gina as much as Mary is in love with Tony. But what ever they do together is left in the imagination of the viewer. Instead of allowing romantic scenes, conflicts are created between the lovers and that does not allow them get romantic.
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Cynthia pulls her husbands penis, Akin is too busy to have any time for Gina and Mary and Akin, who get emotionally involved towards the end of the movie, are kept apart by distance. Mary and Tony end what is tending towards romance when his bum gets pierced by a niddle she carelessly left on the chair.
There are neither violent scenes nor vulgar use of language. Doing drugs, drinking of alcohol and provocative dressing are equally managed. Even at the get together organised by Akin’s mother, drinking of alcohol is not pronounced and the dressing of the women at the party are classy and very decent.
By this careful management of romance and love the director ensured that the young ones are not exposed to corruptive visuals, which is impressed on filmmakers in the
National film policy.
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CHAPTER FIVE
SUMMARY, CONCLUSION AND SUGGESTION
5.1 Summary
The study pushes the argument that though the Nigerian film industry may be facing problems that have hindered its development over the years, it cannot be said to be entirely driven by amateurish instinct and unprofessional conduct as many critics have claimed. It is true that the industry has churned out many films of low quality and that its global rating is not impressive. It is however the position of the researcher that professional filmmakers abound in Nigeria who have produced movies of great qualities.
In order to justify this claim, three made in Nigeria movies are selected and subjected to critical analysis. The analysis relies on the theory of Formality that is basically on professionalism and standardization of film production as represented on the reading of a film; the theory of Auteurship or Auteur theory that states that creative control in the making of motion picture rests largely with the director, as well as the theory of Classicism which borders on Aesthetics.
The researcher used three research methodologies for data collection. The methodologies are the Social Research methodology for its interactive approach to recording on video or audio tapes which makes it suitable for media related research of this nature; the Artistic Research methodology which allows for reliance on intuition, inspiration and imagination which this study requires of the researcher when analysing the selected movies, and the Historical research methodology that entails the investigation of documented sources such as books, journals, reports, films, video and audio tapes.
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Chapter one gives a general background into the study. It gives an insight into how the art and technology of film was imported into Nigeria through colonialism around 1903 with the underlying motive of aiding and perpetuating the ambition of the imperialists and how the images of the colonial movies were unfamiliar to Nigerians.
The role of first generation Nigerian filmmakers like Ola Balogun is highlighted. Then commentary on how the Nollywood industry begins and how it has developed into the second largest film producer in the world is made. The chapter also takes care of the scope of the study, limitation of the study, research problem, and statement of research problem, amongst others.
Chapter two of the study reviewed related literatures that are relevant to the study.
Chapter three is a prelude to the succeeding chapter. It provides a summary of the movies’ plots to enable people who are yet to watch them understand what they are all about. Chapter four is where the three selected movies are analysed. The selected movies are The Figurine, Phone
Swap and Half of a Yellow Sun. The analyses are in the area of Camera manipulation, lighting and shadow, sound recording, continuity, acting, speech and costume and make-up.
5.2 Conclusion
The study has come to terms with the fact that the Nollywood industry is largely faced with the problems of low budget for film shoots and the unprofessional activities of go-for-the money amateurs who have hijacked the industry. But the conclusion of the research is that the Nollywood industry is barely twenty three (23) years old and that so far it has shown that it has come to stay and can only continue to grow.
The industry is capable of rivalling any film industry in the world with increased funding. This conclusion is justified by the quality of the movies that have been analysed.
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It is also the conclusion of this researcher that though there are not many film training institutions in Nigeria, filmmakers like Tunde Kelani, Teco Benson, Kunle
Afolayan, Biyi Bandele and many others have shown through their movies that quality can come out from the industry, and that given the right atmosphere and with increased funding, the industry has the capacity and skill to compete favourably with Nollywood and Bollywood filmmakers.
5.3 Suggestions
Based on the findings in the study, the following suggestions are relevant:
• The film industry in Nigeria must be professionalised. That will push the go-for-
the money amateurs out of the stage. This is because professionalising
Nollywood will allow only professionals to practice. And it is when this
happens that Government, corporate bodies and rich individuals will be
encouraged to put their money into film projects.
• Continuity has been identified as a major challenge to filmmakers. It is
suggested that even when pecuniary challenge will not allow for a continuity
man film directors should use the still camera to take shots of every scene and
make sure to serialise put date and time on the pictures so taken. It will help
take care of most of the continuity embarrassments noticed during the study.
• Again it may be for reason of cutting cost that directors take acting roles in the
movies they direct. This should be discouraged. In The Figurine for instance,
Kunle Afolayan acted as Sola, a major character in the movie.
• The area of make up requires some serious attention. Make up artist should not
make artists up by instinct alone. They should go to film training schools and
learn the skills required to excel. Ramsey Noah acted Femi in The Figurine. The
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padding of the frontline of his hair is so unprofessionally done that one could
tell at once that it is not Ramsey Noah’s hair.
• Acting should not be treated as something any one can do. Professionally
trained actors should always be engaged rather than producers and directors
using their relatives and friends. Role should be given based on training and
skill. That way, some of the half hearted acting noticed will be avoided.
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Movies Cited
Afolayan Kunle, The Figurine (2013)
______phone Swap (2013)
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Bandele Biyi, Half of a Yellow Sun (2009)
Internet http://owyheesound.com/index.php
Hpp://en.m.wikipedia.org http://www.nollywoowmovies.com https://www.naij.com/31426.html
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