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NIGERIAN HISTORICAL MOVIES AND THE SOCIETY A STUDY OF ODUDUWA AND KING JAJA OF OPOBO
This work is divided into five chapters. The first chapter introduces the project topic; examine the significance and relevance of the study. It also encompasses research methodology and defines some operative terms used and summary. Chapter two deals with literature review: film history in Nigeria, the Nigeria video films and film in Nigeria and the summary of the chapter. Chapter three is on history for filmmaking, the effect of the historical movies to the society and ends with summary. Chapter four is the reviews the synopsis, theme, and idea and the analysis of the actual history with the movie. Chapter five is conclusion.
TABLE OF CONTENTS
Title Page - - - - - - - - - - i
Certification - - - - - - - - - ii
Dedication - - - - - - - - - iii
Acknowledgement - - - - - - - - iv
Abstract - - - - - - - - - - vi
Table of Contents - - - - - - - - vii
1.3 Research Methodology
1.4 Scope of Study
1.5 Definition of Terms
CHAPTER TWO: LITERATURE REVIEW
2.2 Film in Nigeria: A Brief History
2.3 Literature Review
3.2 History for Filmmaking
3.3 The Effect of Historical Movies to the Society
4.2 King Jaja
4.2.2 Themes and Idea
4.2.3 Analysis/Actual History
This work is about Nigerian Historical movies and the society, using Oduduwa and King Jaja as a case studies. The video film has become a major means of communication, which involves pictures and sound. This media, which is used to pass information, awareness, political and educative messages, is also used for entertainment.
The Nigerian scene, or to be more exact, the home video scene, is a novelty of some sort. Back in the 1970s and early 1980s, the future of movie making seem bright to movie going Nigerians who were expecting a lot more than they are getting today. During that period, the cinemas presented films every week for people to watch. The Nigerian feature film production, which began in 1970 was shot with celluloid example of them are Kong is Harvest, Dinner with the Devil and many more. Chief Hubert Ogunde, the patriarch of the Yoruba travelling theatre and Yoruba film, making created an historical moment which coincided with anti-colonial nationalist assertion, that provide an image a ‘usable past’ governed by a noble colourful and intact tradition. This has remained one of the resources of the Yoruba filmmakers and videographers, (Haynes “Nigeria Cinema” 102 - 07).
The Nigerian changed from celluloid to video format, due to economic disaster and the structural adjustment programme. Since then, many movies have been produced for the entertainment of the society. Many associations have been formed to regulate this industry. Movie makers in a conference titled Africa “FILM BY AFRICANS FOR AFRICANS”, which was held at Nederburg, room civic center, cape-town, organized by the African script development fund based in Zimbabwe, agreed that Nigerian producers are not supposed to be making movies with story lines that are not African this became necessary because many producers tend to channel their mind in making money and not educating the society. Filmmakers also found base in producing historical events because of the money they will make afterwards. Historical events became major material for film making in Nigeria.
In our Nigeria video industry now they imitate foreign movies by rushing at scripts which tend toward sex violence and rituals, or those which because one such story has been successful. The need to sanitize the industry is by encouraging the historical movies. Historical movies are those movies with a record of past events usual with an interpretation of their cause, and an assessment of their importance.
1.2 JUSTIFICATION OF STUDY
This project is aspired to highlight the role of Nigerian historical movies, and their effect on society. The Nigerian society, is a society, that believes very much in tradition and all the different ethnic groups in Nigeria have their different traditions. This reason has given cause for filmmakers in Nigeria to use historical stories as material for their work.
Historical movies are those movies that portray history, culture, past events and heroes. The present traditional histories are not momentary but are forever emerging, disappearing and reappearing. They are morally justified compared to contemporary movies that are produced in a rush. The contemporary movies’ story line, are always cycle of remixed, rewritten and recycled.
Furthermore, historical movies are produced before anything else, to be of service to the people. This means they are produced for educating the society. They find it easier to understand what they are being taught, when they watch. These movies compared to when they read the books. Movie makers have made it known that producing historical movies involves a lot of research, and that it involves a lot of research, and that it involves a lot of money and casts.
1.3 RESEARCH METHODOLOGY
The information is the project is gathered from a number of sources. Some information from books and journals, other sources include watching historical movies and oral interviews.
1.4 SCOPE OF STUDY
This project is intended to examine Nigerian historical movies and the society using Oduduwa and King Jaja as a case study. This examination is carried out through review of books concerning the Nigerian film industry. These movies are movies that are purely historical, and not fictitious.
Nigeria as a nation has different ethnic groups, and these groups have different cultures and history attached to them. These historical movies are cultural re-evaluating; they restitute the Nigeria culture from colonial defecation. These movies are for restoration with greatest authenticity, the way of life and thought of the Nigeria popular masses.
This project is divided into five chapters. Chapter one deals with general introduction to the project, justifies the needs for study, explain method adopted in gathering information and also defining some key terms.
1.5 DEFINITION OF TERMS
For better understanding it will be necessary to define the operational terms
The new Webster’s Dictionary of English, defines video as ‘the visual element of television’, (1995:1096). It is also relating to or used in transmission or reception of the television image.
The advanced learner dictionary of current English, defines film as “taking a motion picture of a play, Documentary or Drama” (1995:324). Technically, film is a roll or sheet of this flexible material used in which shot on celluloid always are come in 16mm and 35mmm. Film according to Morris Beja in Film and Literature: An Introduction is the perforated strip of coated celluloid which records the visual images projected on the screen (Beja, 1979:12).
The New Webster’s Dictionary of English defines it as of or relating to history// authenticated in history, not legendary// based on or about events in history (1995:459).
The same Dictionary defines society as the state of living in organized groups// any number of people associated together geographically, racially or otherwise with collective interest// an association of people with some interests in common and some central discipline// a civil or business association organized under law and endowed by it with a moral personality (1995:942).
A god that descended from sky into the land to IIe Ife, Oduduwa help the people of lle Ife to stand as a community. His children have spread all over the parts of Yoruba land.
1.5.6 KING JAJA
A boy captured by slave trader in Igbo land. He was moved to another place where he became favored of his master. Very industrious and later became king of Opobo.
The same Dictionary also defines culture as the training and development of the mind// the retirement of taste and manners acquired by such training// the social religious structures and intellectual and artistic manifestations etc. that characterize a society (1995:235).
Having introduced the topic of this work, the need for motivation and attempt for the work is also examined. The justification of the study and scope of study was also examined finally the operative terms was defined also.