CINEMATOGRAPHIC TECHNIQUES OF HILARY NGWENO’S THE MAKING OF A NATION FRANCIS MWANGI IRUNGU (BA) M66/21875/2012 A Thesis Submitted in Partial Fulfillment of the Requirements for the Award of the Degree of Master of Arts in the School of Creative Arts, Film and Media Studies of Kenyatta University MARCH, 2016 ii DECLARATION This thesis is my original work and has not been presented for a degree in any other University or any other award. Signature:………………………………………. Date:…………………………….. Francis Mwangi Irungu (M66/21875/2012) Department of Film and Theatre Arts SUPERVISORS This thesis has been submitted with our approval as the university supervisors Signature:…………………………………………. Date:……………………… Dr. John Mugubi Department of Film and Theatre Arts Signature:…………………………………………. Date:……………………… Dr. Rachael Diang’a Department of Film and Theatre Arts iii DEDICATION To my now aged parents, Mzee Irungu and Mama Helenah, who took me to school as a 7 years old little boy nearly 4½ decades ago and taught me that the ―roots‖ of education are bitter but the ―fruits‖ of the same are sweet. In all this long academic journey, they have been praying for me while at the same time cheering me on to achieve more academic success. Bravo!! Ni ngatho!! To my dear wife, Naomi, who with a lot of understanding had to steer family matters alone as I undertook the rigorous work involved in this study. Kidole!! To all my other relatives and friends, I may not mention each one of you by name but I sincerely do not take your prayers and encouragement for granted. Your patience and understanding gave me a renewed energy which made me work even harder to accomplish this assignment. Shukrani!! Lastly, to my children, Sammy and Hellen, I may not have had adequate time for you during this trying moment but all the same, I believe I have shown you the way to go. You have no choice but to strive and get even better academic achievements than your dad. Kazi kwenu!! iv ACKNOWLEDGEMENT I want to express my heartfelt gratitude to the Kenya government (G.O.K), my employer, through the Department of Film Services (D.F.S) for finding it worthy to nominate and subsequently sponsor me to undertake this programme. Special thanks goes to the Head, Department of Film Services, Mr. Ernest Kerich, for his enormous support without which my studies in this programme would almost have been impossible. In the same vein, I wish to appreciate my colleagues in the D.F.S for their moral support which gave me impetus to push on, especially when things became difficult. I am grateful to my supervisors, Dr. John Mugubi and Dr. Rachael Diang‘a, for their guidance in this long academic journey. I equally wish to recognize my coursework classmates, Mr. Charles Manyara, Catherine Wamuyu, and Addamms Mututa, whose suggestions and contributions went a long way to strengthen this work. Last but not least, I want to thank my son, Sammy Irungu Mwangi, for his assistance in retrieving the frames (pictures) identified and used in this work, from the films under study. To you all, I say, you are great men and women and may the good Lord bless you abundantly!! v TABLE OF CONTENTS DECLARATION ...................................................................................................... II DEDICATION ......................................................................................................... III ACKNOWLEDGEMENT ...................................................................................... IV TABLE OF CONTENTS..........................................................................................V OPERATIONAL DEFINITION OF TERMS ...................................................... IX ABBREVIATIONS AND CRONYMS...................................................................XI ABSTRACT ........................................................................................................... XII CHAPTER ONE ........................................................................................................ 1 1. INTRODUCTION ................................................................................................ 1 1.1 BACKGROUND TO THE STUDY ................................................................ 1 1.2 Statement of the Problem ................................................................................ 2 1.3 Objectives of the Study .................................................................................... 3 1.4 Research Questions .......................................................................................... 3 1.5 Research Assumptions ..................................................................................... 3 1.6 Significance and Rationale of the Study ........................................................ 4 1.7 Scope and Limitations of the Study ............................................................... 4 1.8 Review of Related Literature ........................................................................... 4 1.8.1 Documentary Genres and Conventions ...................................................... 4 1.8.2 Public Affairs Documentary. ....................................................................... 5 1.8.3 Propaganda Documentaries. ...................................................................... 6 1.8.4 Cinematographic Styles in Documentary Filmmaking. ............................ 8 1.8.5 Role of Cinematography in Film. .............................................................. 10 1.8.6 Themes and Narrative Development in the Documentary Films ........... 14 1.9 Theoretical Framework .................................................................................... 17 1.10 Research Methodology ................................................................................... 18 1.10.1 Research Design ..................................................................................... 18 1.10.2 Sample Size ............................................................................................. 19 1.10.3 Sampling Techniques ............................................................................ 19 1.10.4 Validity and Reliability ......................................................................... 19 1.10.5 Data Collection Techniques ................................................................. 19 1.10.6 Data Analysis ........................................................................................ 20 1.10.7 Conclusion ……………………………………………………………..20 vi CHAPTER TWO ..................................................................................................... 21 2.CINEMATOGRAPHIC STYLES AND CHARACTERISTICS IN HILARY NGWENO’S THE MAKING OF A NATION DOCUMENTARY FILMS .. 21 2.1 Introduction ....................................................................................................... 21 2.2 Narrative Form in Hilary Ngweno’s TMN Documentary Series .................. 21 2.3 Critique of Cinematographic Styles in the Films under Study ..................... 29 2.3.1 Montage ....................................................................................................... 31 2.3.2 Sound ........................................................................................................... 34 2.4 Classification and Functions of Sound in Hilary Ngweno’s Films…………..31 2.4.1 Diegetic Sounds ........................................................................................... 35 2.4.2 Nondiegetic Sounds .................................................................................... 39 2.5 Photography and Lighting in the Documentary Series .................................. 44 2.6 Shot Types in the Documentary Series ............................................................ 45 2.6.1 Close- up Shots ............................................................................................ 45 2.6.2 Medium Shots ............................................................................................. 47 2.6.3 Long Shots ................................................................................................... 48 2.7 Effects and Filters in the Documentary Series ................................................ 49 2.8 Camera Movement Techniques in the Documentary Series ........................ 49 2.8.1 Panning ........................................................................................................ 50 2.8.2 Tracking ...................................................................................................... 51 2.8.3 Zoom ............................................................................................................ 52 2.9 Conclusion .......................................................................................................... 55 CHAPTER THREE ................................................................................................. 57 3.THE ROLE OF CINEMATOGRAPHIC TECHNIQUES IN THE 14 SERIES FILMS. ................................................................................................................. 57 3.1 Introduction ....................................................................................................... 57 3.2 The Episodes in the Documentary Series ........................................................ 57 3.2.1 Episode 1: Before the Beginning 1959-1963. ............................................ 58 3.2.2.Episode 2: Dividing the Spoils 1964 .......................................................... 60 3.2.3 Episode 3: Battle of Ideologies 1964-1966