CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
The power of a film to entertain or communicate by stirring up people's emotions depends on the filmmaker's inventiveness. Film has the dual ability to present that which is real and somewhat unreal, in contrast to theater where all activities are constrained to the physical space of the stage, along with the artistic potential of players and their props. The meaning and content of a movie can depend on the director's or scriptwriter's realities and thoughts. Realism is described as "the portrayal of things in a way that is truthful and true to life" by Hawker and Soanes (852).
On the other hand, in cinematic reality, the filmmaker has the resources and skills to provide his or her own interpretation of reality depending on the plot, goal, and imagination of the film. Film, in Odedina's opinion, has the capacity to both influence reality and create its own world. Film uses language to transfer the action from one scene to the next so that the viewer can follow the dramatic action because, like theater, it only captures what is in front of the camera. This is why a variety of movies have been referred to as "realistic" (1). According to Marshall, the cinema camera's mobility and the filmmaker's ability to switch between two different sequences of events that have an impact on the same overall result gave filmmakers the chance to produce alternate realism. They are able to do this by using creative editing methods (45). Based on the use of a visual image as a signifier, the inventiveness and creativity of filmmakers are transformed into particular contents and messages that have the power to affect and change reality. The filmmakers in Nollywood have the ability to create content from their imaginative worlds, just like everyone else in the creative industries.
According to Odedina;
The filmmakers achieve this through the use of the production elements and aesthetics of the content of their films. In the process of their creativity, many issues are treated for the consumption of the audience, several of who see Nollywood films as the epitome of what to aspire for. The use of these production elements has been so successful to the extent that Nollywood films keep growing in popularity throughout the nation and around the world, (2).
The use of creativity in Nollywood films ignited a revolution in the creative industry. The Nigerian film industry has developed into Nollywood, a transnational enterprise. The movie-making sector known as Nollywood is known for its high level of mass output. Nollywood has recently been well-known on the global stage for its cutting-edge filmmaking and commitment to excellence. The term "Nollywood" was first used in 1992 to combine the Hollywood and Bollywood aesthetics. However, a few of experts question the assertion that Nollywood started in 1992. According to Asobele-Timothy, the term "Nollywood," which refers to the Nigerian film industry as a whole, was created from the styles of Hollywood and Bollywood. Nollywood is currently gaining attention from around the world as a result of its efforts to create a unique cinematic tradition (13). The Nigerian home movie making industry is referred to as Nollywood. According to Igwe, the word Nollywood was established by New York Times journalist Norimitsi Onishi in 2002 after observing filmmaking activities in Lagos, Nigeria, in comparison to Hollywood and Bollywood in India (1).
According to Omerua, Edemode and Aihevba;
Nollywood is an African film making industry, which started in the late 1980s in Nigeria. However, it has now spread globally with vast potentials for wealth creation, employment and the provision of social safety nets for teeming Nigerians. Nollywood, as an industry is derived from Hollywood in the manner as Bollywood, (351).
Nollywood, according to Igwe, is best understood as referring to the process of filmmaking in Nigeria, where films are produced utilizing any instruments available, whether appropriate or not. It can also be defined as the production of films with Nigerian content in risky and uncertain environments, with typically exceedingly short turnaround times (1). Nollywood, according to Opeyemi, is the moniker for Nigeria's film industry. It is, by definition, a Nigerian film industry produced by Nigerian production teams for Nigerians (1). This is related to the local contents that cover the scope of the movies. Igwe says that;
While remaining true to authentic, believable storytelling, Nollywood is distinguished by its reflection of the vibrant culture, architecture, and in many cases, the relative influence in Nigerian society. Stories had to resonate with the target audience and be supported by a strong cast, typically with at least one well-known figure. Films were frequently shot over a few days in homes and offices, and iconic cars like BMW and Mecedes were hired for spotting (2).
Films, according to Giwa, have been a means of expressing and comprehending Nigerian culture as well as an influence on Nigerian people's lifestyles. Film is a subset of the entertainment industry that deals with the creation and distribution of commercial motion movies. A film can also be referred to as a movie or a motion picture, (3). According to Nwanwene;
Film is a collection of still images that are rapidly projected onto a screen, giving the viewer the appearance of continuous motion. Light beaming through a comparable series of images organized on a continuous strip of flexible material projects such images (45).
1.2 Statement of the Problem
The art of film has drawn from several traditional oral storytelling, literature, theatre and visual arts. Film is the arts of featuring moving or projected images for the audience to watch. Odedina says that film is one of the most significant communication instruments for the human race's advancement. This is because technology has the ability to critically analyze man's follies through the illusion of moving visuals. However, in the field of Nigerian cinema scholarship, a thorough examination of the production components and aesthetics of Nollywood films is essential, (1).
Clearly, the cinema camera's mobility and the filmmaker's capacity to alternate two sequences of occurrences in two separate places that contribute to the same overall effect offered filmmakers the opportunity to create alternate realism. They are able to achieve so by employing inventive editing techniques. The capacity of film to influence and change reality is based on the use of visual image as a signifier. How filmmakers create creative films remains a concern to the quality of the contents and messages in the movies for public consumption. The patronage of movies depends on the reality of the creative elements inject into the production process.
Therefore, this study focuses on the essence of creativity in the production of Wedding Party and King of Boys with emphasis to add to knowledge in movie production in Nollywood.
1.3 Objectives of the Study
The general objective of the study is to examine creative essence of Nollywood movies using Wedding Party and King of Boys as a focus.
- Examine how Nollywood films use production components to improve the aesthetic value of Wedding Party and King of Boys.
- Ascertain the production aspects of Wedding Party and King of Boys films in order to better understand how they use filmmaking techniques to generate aesthetic values in their films.
- Determine the pattern of production components such as colorful scenery, lighting, sound, and speech in Wedding Party and King of Boys films.
- Examine the importance of production elements in the production of Wedding Party and King of Boys
1.4 Significance of the Study
The study will help Nollywood performers, directors, and filmmakers, as well as students, particularly those in the Theatre Arts Department. It's worth noting that the research will aid Nollywood actors in better understanding the concepts and importance of creativity in filmmaking, as well as how to use it effectively for better results. In addition, directors of film productions and film makers can learn how to effectively use the relatability imagination to convey themes in the films they create. Finally, the study will aid student researchers and other researchers because the findings will contribute to current literature and understanding.
1.5 Scope of the Study
This study seeks to cover creative essence in Nollywood: King of Boy and Wedding Party with specific direction on production elements.
1.6 Rationale for the Study
The necessity for this research topic is as a result of the fact that a number of people have limited knowledge on creative essence in modern film making in Nollywood. This research will enlighten researchers and also contribute to knowledge about the enhancement of creativity for movie production.
1.7 Research Methodology
The best research will be determined by what the researcher intends to measure. The research shall adopt the use of literary method and content analysis. Ukala says that the literacy method focus on written and printed library and archival sources, especially books, journals, theses, reports, literary works such as plays, novels and poems (8). Also, Ukala says content analysis is a method for minutely examining content in order to count its specific aspects. It includes newspaper, magazine, broadcast, video (10). The reason for the usage of these research methods are based on the scope of the study which discussed the a study of creative essence in Nollywood: King of Boy and Wedding Party Literary method was used for chapter two while the content analysis was used for chapter four.
1.8 Definition of Terms
Movie: This is recorded acting which has done through the pre-production, production and post-production stage.
Nollywood: This is a generic name for film industry in Nigeria that produces local contents for international and national consumption.
