CHAPTER ONE

INTRODUCTION

1. BACKGROUND OF THE STUDY

Scholarly discussions concerning historically accurate costumes within the field of film studies have garnered much debates in recent times. The ability of costumes to create a connection between the present and the past using the dominant film meduim has generated discourses valued by Theatre and Film Scholars, performing artists, and even audiences. Hence, such disposition renders it a fertile art form for discussion in the popular media. Such discussion is particularly revealing when combined with artistic modes of display, for instance using cinema to create visual images and gives insight to people's world view over the years, through their dress culture.

The age-old saying that “clothes make the character” is a truism. And this implies that the costume of a character does so much to communicate the psychological, cultural, geographical, religious and physical details of the character before us. When the actor first appears, the audience’s feeling about the character will be based, to a great extent, on the information that guides all first impressions: clothing.

In Theatre therefore, there is a sharp distinction between theatrical and ordinary clothes. It is the "theatricalness" of costume that is the distinguishing factor between dress as 'ordinary' and dress as 'costume' (Dani, 2011:2). Also in films, such distinctions carefully selected by the designer to accurately represent clothes in contemporary productions and those in which the clothings replicate another age or place will begin to trigger questions about the character before the audience. Such questions as; what do the costumes say about them? What character do they portray, do other objects in the camera support the age and period of the year and does it match the overall vision of the film? Focusing on the film itself, and attempting to ignore any grand comparisons, do the costumes, inaccurate as they may be, contribute to the stories? These questions were necessary in order for a costume designer to reflect on when designing historically informed films. So films apparently give us the look of the historical environment in order that we may see and have a sense of historical antecedents. So it is important to stress that more than simply the look of colourful images, films ought to provide vividly how common objects appeared when they were in use.

The world on the screen brings to light the world view of the actors/actress through such fundamental characteristics as; economics, politics, race, class, gender etc. All these are woven together in the lives and moments of individuals, groups, and nations to the outside audiences. Considering the connection between costuming and identity, Abone summarizes that film is therefore, a historical event, a cultural artifact, and a look into the lives and moment of individuals, groups, and nations to both inside and outside audiences. Based on this, she is of the opinion that film stands as one of the most important weapons by which the character of a nation, its image, identity, its culture, its peculiar sounds, politics, economy, its aspirations and achievements are impressed on the popular throughout the world (23).

1.1.1 THEME AND COSTUME IN THE MOVIE ANIKULAPO

The film begins in the most captivating way possible, with a dead Saro being brought back to life by a mythical creature called the Akala Bird said to have the power of the resurrection. According to the narrator, when someone dies prematurely, the Akala bird resurrects them with its divine ability, but if the person’s time is due, the bird allows them passage to the great beyond. Saro’s attempt to tell the cause of his death to this bird gives us what looks like the story but is only a preamble that takes an hour too long to make its point. The acclaimed KAP village, located in Igbojaye, Kumo, Oyo State, is seen at its peak in a preview of the location. The Kunle Afolayan family legacy is officially introduced to our screens as Eyiyemi Afolayan, the young daughter of the Nollywood filmmaker, as she makes her feature film debut with Anikulapo.

This makes Eyiyemi the third generation Afolayan in Nollywood, and a carrier of the Adeyemi “Adelove” Afolayan legacy. However, the movie goes beyond being a chance to appraise the dynasty by trying to change the face of Yoruba movies. It’s aesthetic, profound, and clear-cut. Anikulapo follows the story of a protagonist, Saro (Kunle Remi), and deuteragonist, Queen Arolake (Bimbo Ademoye), whose meeting breeds more doom than love. Arolake’s first introduction is as the king’s youngest bride but who would later become the woman who makes and ruins Saro.

Saro, a travelling aso-ofi weaver from Gbogan, moves to Oyo in search of greener pastures. Just when it looked like he would be sent back, the guards let him in with open hearts. Saro is found by Awarun (Sola Sobowale), who makes his dreams easier as they start an affair. Awarun finds favour in him, gives him a job and shelter, and even further, a home and work site of his own. The relationship between Saro and Awarun comes off as proof of the existence of cougars and gigolos in pre-colonial Yoruba society.

The relationship soon goes sour when Saro develops an interest in Arolake and ignores Awarun. Arolake, a sad young woman, is described by her co-wives as “barren,” a misfortune probably caused by her intake of toxic herbs trying to escape her reality as an unhappy victim of the child bride practice.

Beyond the showcase of ancient infrastructure like clay houses, mud walls, and bamboo gates, or ancient lifestyles, like trading with cowries, the showcase of art skills, and small talks about slave trading, the movie does nothing remarkable that makes it a worthy nomination for the Oscars.

Although it follows a similar pattern as The Figurine, where mere mortals get hold of mystical powers, it’s nowhere close. Anikulapo has potential but holds no compelling story. The movie does too little for the wave it comes with. While simplicity is gold, Anikulapo is one of those few movies where being simple isn’t just good enough.

1. STATEMENT OF THE PROBLEM

Actually, the job of the designer in such films has grown with the industry and must respond to accurately representing the historical setting, illustrating the drama as written, creating convincing costumes and a visual, artistic, and audience satisfying aesthetics. But the worrisome issue is that costumes as both signifier of character and marker of history have hardly fulfilled these roles in Nigeria’s Nollywood due to the limitations of documented evidence. Despite the genres popularity within and outside the country, issues bothering on historically accurate designs that are convincing and believable has become quite a challenging task to the overall success story of the Nigerian video film industry. Besides being a popular genre, the realities of these video films centers more on the people’s tradition, culture, wisdom, beliefs, and among many other peculiarities that truly distinguish Nigerians from other African countries. This has attracted more Nigerian audiences to becoming more interested in the video films as they relate to their religious beliefs and cultural practices. However, it is a common thing in Nigeria’s Nollywood, many Nigerian audiences enjoy video films not necessarily for visual and aesthetic purposes; but solely for entertainment. Most of the audiences are not paying attention to the visual mechanisms of the story; rather they seemed undeterred in the level of accuracy of costumes to a historically accurate character. Without doubt, some of these video films have proven that the overriding force that guides the making of video films in Nigeria is given to monetary gains which of course facilitated undue recycling of actors with familiar faces, recycling of costumes among characters, undue display of stylized clothing with little or no reference to the era in view. Based on this outlook, the Producers of these video films have made the audiences to believe that these video films were not actually meant to accurately represent reality. In view of that, many studies have revealed that although some costume designers of the Nigeria’s Nollywood have made remarkable attempts in the suitable uses of costumes as tools for cultural sustenance, especially in costume dramas but in the area of marking historical events, the art of costuming has hardly fulfilled those roles due to limitation in documented history.

1.3 AIM AND OBJECTIVES OF THE STUDY

The study seeks to determine the principles of costume design in Nollywood film production. The objectives of the study are:

1. To determine the principles of the costumes used in the movie Anikulapo
2. To identify the types of costumes used in Nollywood film production in Anikulapo
3. To evaluate the effectiveness of the use of costume design in the Nollywood film Anikulapo
4. To determine the factors affecting the costume design in the Nollywood film Anikulapo

1.4 RESEARCH QUESTIONS

The research question are:

1. What are the principles of the costumes used in the movie Anikulapo?
2. What are the types of costumes used in Nollywood film production in Anikulapo?
3. How effective is the use of costume design in the Nollywood film Anikulapo?
4. What are the factors affecting the costume design in the Nollywood film Anikulapo?

1.5 STATEMENT OF THE HYPOTHESIS

H0: the use of costume design in the Nollywood film Anikulapo is not effective

H1: the use of costume design in the Nollywood film Anikulapo is effective

1.6 SIGNIFICANCE OF THE STUDY

The following are the significance of this study:

1.     The outcome of this research will create awareness to both the general public about the principles of costume design in Nollywood film production.

2.     This research will be a contribution to the body of literature in the area of the principles of costume design in Nollywood film production, thereby constituting the empirical literature for future research in the subject area.

1.7 SCOPE OF THE STUDY

The study covers on the principles of costume design in Nollywood film production with focus on the movie Anikulapo

1.8 LIMITATION OF THE STUDY

Financial constraint- Insufficient fund tends to impede the efficiency of the researcher in sourcing for the relevant materials, literature or information and in the process of data collection (internet, questionnaire and interview).

Time constraint- The researcher will simultaneously engage in this study with other academic work. This consequently will cut down on the time devoted for the research work.

1.9 DEFINITION OF TERMS

NOLLYWOOD:  Nollywood is a sobriquet that originally referred to the Nigerian film industry