International Journal of Humanitatis Theoreticus. Vol. 2, No.

1; May, 2019

Film Appreciation: A Formalist Approach to Film Analysis and Evaluation

By

S. Joseph Bankola OLA-KOYI

Department of Performing Arts

Olabisi Onabanjo University,
Ago-Iwoye, Nigeria.
(08038126789)
ola-koyi.joseph@oouagoiwoye.edu.ng;

Abstract
Film appreciation is usually conducted with different analytical theories. However,
some students and inspired film critics in Nigeria are still faced with the challenges of choosing
relevant theories or applying appropriate theories in analysing different components of the
Nigerian films. The objective of this study is to demonstrate the various ways in which
formalist principles could be used as a theoretical framework for film appreciation and
evaluation. In this exercise, the study ruminates on some theories that are useful for film
appreciation, discuses in detail different applications a formalist approach to film analysis, and
gives guidelines on how to use formalist principle in film report, film review or critical
appreciation. The paper equally carries out a practical demonstration on how to use formalist
theory is used in a critical film appreciation.

Keywords: Formalist principle, film appreciation, film critic.

Introduction
Film appreciation (which includes film analysis, evaluation and criticism) is usually conducted
in line with different film analytical theories. However, some students and inspired film critics
in the country are faced with the challenges of choosing relevant theories or applying
appropriately established principles while analysing different components of the Nigerian
films. Using personal observation as a university tutor and a review of selected film evaluative
approaches which include formalist theory the study intends to demonstrate how student/critic
could employ formalist theory in writing a critical essay on Nigerian films.

In exploring the meaningful patterns of data existing within Nigerian films system, the
study review selected theoretical approaches to film criticism before focusing on formalist
principle as a theoretical framework in film appreciation. In addition, guidelines are given on
how formalist theory could be used as a basic tool of investigation while writing a film report,
review or carrying out a critical appreciation and evaluation of any given film.

Theoretical Background
According to Richard Rushton and Gary Bettinson (2010):

‘Film theory’ is best thought of as a substantive field of inquiry in

which are clustered a number of discrete theories of cinema. No one
system of propositions governs the entire field… there is no single,
monolithic ‘film theory’ that film scholars unanimously endorse.

For a newcomer in the field of film appreciation, it must be reiterated that a critic watching a
new film “...must make an effort to become immersed in the reality of the film, while at the

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same time maintaining some degree of objectivity and critical detachment.” (Joseph M Bogg
& Dennis W. Petrie, 2008). Hence, there is a need for a new comer to understand at least a
theory which could be used in evaluating film. Thus, this study is meant to introduce student
to film appreciation through the use of formalist theory.

The basic question which is often asked is: “what is the need of a film theory?” or “why
studying theories when one needs to evaluate films?” Once again, Rushton and Bettinson
(2010), provide an appropriate answer to these essential questions:

For one thing, theories of cinema can help us understand the medium
better. By framing general questions about cinematic phenomena,
theorists try to disclose the way film work, how they affect us… [it]
helps us to grasp the phenomenon of cinema, its broad systems,
structures, uses, and effects – and these prototypical features can in
turn, enable us to better understand the workings of the individual
films

Different Analytical Models

In film appreciation (analysis, evaluation or criticism), available publications suggest
that, critic / reviewer could venture into film assessment through any or the combination of the
following theoretical approaches: genre, historical, national cinema, auteur, or ideological
perspectives. Other perspectives which might not be discussed fully in this chapter include
technical achievement, the actor appraisal/the personality cult, pedagogical approach,
philosophical, social or political statement approach, emotional or sensual experience
approach, psychoanalytical, Jungian criticism or eclectic approach. According to Bogg and
Petrie (2008), “Each approach has its own focus, bias, perspective, and intentions, and each
looks for something a little different in the film.”

In diagnosing films through the genres, the Writing Center of the University of
Colorado in an online publication, suggests that the researcher should undertake the following
summarized mix:

Looks at the common patterns of form (lighting, editing,

cinematography, mise-en-scène, etc.) and content (narrative,
characterization, themes, etc.) to determine how a film conforms
or diverges from a genre category. Secondly, researcher must keep
in mind the film’s historical moment because genre changes over
time thus one needs to find out common structures, themes, and
techniques that are associated with a particular genre, finds out
when a particular genre first appear and why, then one could
examine if a particular genre does conform to expectations or not,
and if not one needs to provide the answer.

In applying an historical approach to a film study, critic often situates and investigates
the unique historical moment of the content of a given film and/or the period of its
production/release while attempting to provide answers to the following questions.
• Am I concerned with how historical events are depicted in this
film?
• Does knowing the historical background help explain the
narrative or technique?
• Will my argument clarify the film’s place in history? Some
examples include:

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▪ Researching the effects of film technology’s evolution

(i.e., the rise of Technicolor)
▪ Comparing the subject matter of certain films to their
unique historical moment (i.e., film noir’s dark narratives
are the result of WWI and WWII anxieties)
▪ Documenting the reception of a film by a particular
audience

Furthermore, theoretical approach generally requires the critic to have a good

understanding of film history, film theory, or film technicalities. Typically, this study often
explains some of the larger and more complex structures of the cinema and how we understand
or failed to understand them. In this type of study, analysis can focus on one or a mix of the
following: national cinema, auteur or ideological approaches.

In studying films through national cinema approach, critic often looks at a film by
taking into account each country’s unique way of portraying the world, exploring the cultural
conditions that produce some unique effects by asking himself, the following questions: (1)
What exactly distinguishes this film from what others are used to? (i.e. the American, Indian,
Chinese, Nigerian or Ghanaian films. (2) How do meanings change when a film is seen outside
of its culture? And (3) What kind of cultural research might lead the researcher into a deeper
understanding of the themes?

In using an auteur theory approach, researcher looks at how directors or other dominant
figures, such as producers or actors, use pervasive themes and/or styles in their body of works.
Even though, it is known fact that, a director rarely have total control, and the term auteur has
changed over time. According a sample given by University of Colorado Writing Center,
“…the auteur theory of the 1960s applied to the work of Alfred Hitchcock differs drastically
from the theory now applied to that of David Lynch.” In domesticating the change in the
concept of the auteur theory, critic will discover that the theory of the 1980s applied to the
work of Hubert Ogunde will differ drastically from the theory one applies to that of Tunde
Kelani’s work in 2000s.

Fundamentally, a researcher using the auteur theory approach will need to provide
answer to the following questions: (i) How do the historical conditions of the film’s production
encourage or discourage the unity of the auteur’s work? And (ii) What are the most distinctive
indicators of the auteur’s control over his body of works?

In using an Ideological/political approach, the above centre postulates that the

researcher is bound to ruminate on the underlying message(s) the film is conveying about
society, culture, gender, etc. Furthermore, this category can be further broken down into these
schools of thought:
✓ Hollywood [/Nollywood] Hegemony: how classical film
formulas dominate and distort ways of seeing the world
✓ Feminist Studies: how women have been positively or
negatively represented both in front of and behind the
camera
✓ Race Studies: how different races have been positively or
negatively represented in front of and behind the camera
✓ Class Studies: how social and economic arrangements
surrounding and represented in film reflect and influence
the distribution of social power

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✓ Postcolonial Studies: from a global perspective, how the

repression and subsequent reemergence of indigenous
cultures is revealed through and represented in film
✓ Queer Theory: how normative gender relations can be
challenged or disrupted through film

Other film appreciation approaches are itemized but not discussed include: technical
achievement approach, the actor appraisal/the personality cult approach, pedagogical approach,
film as philosophical, or social statement approach, film as emotional or sensual experience
approach, film as political statement approach, psychoanalytical approach, and eclectic
approach.

According to S.J.B. Ola-Koyi (2015), although any of these approaches to film

analysis/study could appear in seclusion, but in most cases, critics often mix them, just as any
of them could be combined with formalism theory. For example, a writer could consider Tunde
Kelani’s Kosegbe from an auteurist perspective, by analyzing how it does or doesn’t conform
with the rest of Kelani’s works/oeuvre; then examine the film’s recurring formalist elements
that contribute to the psychological state of the main character; and finally hypothesize about
how the historical context of the corruption / corrupt practices in government influences the
film’s content.

No matter the type of theory a critic has chosen to use for his analysis or evaluation,
there are basic filmic and dramatic components which an analyst could not do without relating
to. Some of these elements have been identified by Bogg and Petrie, (2008) thus: “story,
dramatic structure, symbolism, characterization, conflict, setting, title, irony, cinematography,
editing, film type and size, sound effects, dialogue, the musical score, the acting, and the film's
overall style.”

Formalist Theory
It is appropriate to acknowledge an overview on formalist theory as a hypothetical framework
in a film appreciation:

Formalism looks specifically at matters of structure and style;

often combined with one or more of the other approaches; strict
formal analysis only looks at what happens on screen, ignoring all
outside factors, such as the biography of the director, the historical
context, etc. (Ola-Koyi, 2016)

From the established fact, one could see that a formal analyst often seeks to know what
is the most interesting and significant elements of a film system in any given production and
how they add to the story and theme of such a film as a whole. However, the discussion in this
study will disagree partially with the concept of the strict formal analyst who restricts criticism
to what happens on screen only. Since it is possible to review both the content and the context
of a film in a single evaluative exercise this study thus advocates for the possibility of
combining formalist theory with other appropriate approaches such as the auteur theory,
Nollywood hegemony approach, global perspective, feminist, race, class, postcolonial studies,
queer theory or historical perspective.
David Bordwell and Kristin Thompson’s (2004) formalist theory is used as model or as
a theoretical ‘lens’ because formalist approach enables both critic and researcher to conduct a
meticulous examination and observation on the various components of a film system.
Secondly, the theory had already provided a springboard for studying films from different
cultures.

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Formalist Theory in Film Appreciations: Different Levels of Applications

There are different levels in which critic or student writing about films could use
formalism as a theoretical framework. For instance, a student may be given a term paper on
one of the films studied in a course or ask to come up with a screening report on a popular film
in a college magazine, or writing for a daily news paper entertainment pages. As a columnist,
one may be writing a review or a promotional article on newly released film. A scholar or
researcher may have course to carry out a critical evaluation of a classical movie or write an
analytical essay on a popular film.

In simplifying these various levels of writings about films, David Bordwell (2004),
categorized these levels into three: a screen report, a film review, and an analytical essay. His
concepts on each of these classes could be succinctly introduced as follow: a screening report
allows the student to demonstrate his or her understanding of a film and its relationship to a
topic in a course. According to him, it is “…like an essay answer on an examination.” On film
review, he explains that, this gives the reviewer opportunity to write a sort of evaluative
commentary which readers find in Newspaper or Newsweek. The third, which is an analytical
essay, he describes as a longer piece that digs more deeply and develops a sustained argument
about the film. The analytical essay or a critical evaluation in his view is the longest, most
complicated, and (for most students) the most challenging writing assignment on film. It must
be pointed out that while the three levels will be discussed, only the sample of a critical
appreciation of film will given in this chapter due to limited space.

A Screening Report
It is on record that a screening report at most will run through one to two double-spaced
pages. This should be sufficient for the student writing on a screening report to accomplish his
purpose. Within these pages, the writer could demonstrate a general familiarity with the film
he is writing on and to show that the reporter understands the relevance of this film to topic
discussed in a course. Basically, it is required that a student should think of writing some
paragraphs in which each of these will explore and explain a single aspect of the film. For
instance, in a criticism class, the topic at hand might be “feminism and film” while the
assignment asks each student to submit a screening report that points out aspects of Arugba that
highlights either the negative or the positive qualities of young Yoruba girls as reflected in the
film. In answering this question, the writer needs to be selective when writing on the most
important aspects of the film that are relevant to what is discussed on the topic.

Essentially, in a film report, one should be able to answer the following question
propounded by Bordwell (2004): “1. Have you shown how the film is relevant to issues explored
in the course or the specific assignment? 2. Have you displayed your familiarity with the whole
film? 3. Have you confined yourself to one, two, or at most three aspects of the film, each one
developed in a paragraph or two? and 4. Have you drawn concrete examples from the film-shots,
lines of dialogue, elements of plot or characterization-which support the aspects you've picked
out?”

If the thrust of a film report is descriptive, then one could conclude this section by
reiterating that:

Instead of developing an original argument, you're showing how the

assigned film is relevant to issues being examined in the course. By
drawing on clear, powerful examples from your notes, your report can
demonstrate not only that you've watched the film with understanding but

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also that you are actively engaging with the broader ideas in class. The
same skill at relating aspects of the movie to issues in the course will be
helpful for you in writing essay examination answers. (Bordwell, 2004).

The Film Review:

Primarily, a film review requires an evaluation on selected aspects of the film. Here, one
is expected to examine and offer a judgment about the quality of the movie. In this case, the reviewer
must be able to back up his submission with enough information and sound reasons for a claim made.
The ability of a reviewer to make a credible appraisal that is back up with unbiased facts according
to Bordwell (2004) will make the reviewer to “become a consumer adviser”, an observer who
provide a credible point of view on movies after watching them or a person whose efforts will
indicate whether a film is worth buying a ticket for.
In some culture, professional reviewers are known as film critics according to Bordwell
(2004), this is a term which implies their commitment to making judgment on films. He is of the
opinion that “film criticism isn't devoted to finding fault.” And that in film review, a reviewer avoids
extreme judgments such as "a thoroughly bad movie” or “ a flawless film" because “most good films
aren't perfect, and many weak film have some good points.” Thus a sensitive critic is expected to
take both possibilities into account while reviewing a film.
As a genre of journalistic writing, film review depends on certain conventions. On this
level of writing:

There must a brief plot synopsis, suggesting' main conflicts and

character developments. Typically, however, a reviewer doesn't
divulge the ending. The main characters' names followed by actor's
names in parentheses…Reviewers are also expected to mention
striking aspects of the film: impressive sets or costumes, notable
visual qualities such as color design or editing or music, and, above
all, acting. Comments on these matters can be given separately or
woven into the synopsis… (Bordwell, 2004)

It has also been suggested that, reviewers can compare the film at hand with other films
that belong to the same genre, which are made by the same filmmaker, or which raise similar
thematic issues. This convention demands that the critic be familiar with a wide range of films
and some films history. To cap it all, brevity is required in film review, even though, a critic may
want to develop a complex judgment on film, thus brevity will become his biggest constraint. It
has been observed on this issue that, “The best reviewers excel as writers. They render their
opinions in short, memorable strokes. They devise arresting openings and pointed wrap-ups. To
give the flavor of a movie, they aim at vivid descriptions. In a few words they can evoke the look
and sound, even the emotional overtones, of a movie.” (Bordwell, 2004)

As a way of assisting a new comer to this genre of journalistic writing, the following
questions have been offered as a guide:
1. Have you somewhere clearly indicated your judgment of
the film's quality?
2. Have you provided a brief plot synopsis?
3. Have you mentioned specific elements of the film which
support your judgment? Have you described these quickly
and vividly, using concrete language and metaphors?
4. Have you qualified your judgment by balancing positive,
negative aspects of the film?
5. Have you begun the review with attention-grabbing
opening? Have you concluded it with a sinking

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sentence?

The Analytical Essay/Critical Evaluation

In an analytical Essay, the analyst is meant to examine how various parts of the film fit
together systematically in passing across a message to the viewers. Here, the critic engages in a
detail and extensive descriptions. Furthermore:

Like the review, the analytical essay also puts forth the writer's
opinion, but here the opinion doesn't usually address the ultimate
worth of the film. When you analyze a film, you're defending your
view on the ways parts of the movie work together.

A critic could engage in any or all of these activities. He can describe the nature of the
movie, (i.e. discussing the plot pattern, the genre, or dwelling on other formal components of the
movie), he can evaluate the film, (justifying his claim on the impact or the impression the film had
on viewer). Yet, he can still analyze the movie (i.e. talking about the film stylistic system by
diagnosing the patterned and the significant use of techniques such as mise-en-scene,
cinematography, editing or sound in order to discover how these components work together to
create a certain feeling in the viewers.

While scholars believe that an analytical essay is also an argumentative piece. The target
here is allowed a critic to develop an idea he/she have about the film by supplying logical reasons
for considering that idea seriously. Bordwell (2004) then gives a guideline on the preparation
and the structural outlook of an analytical essay. According to him, a critic needs to: 1) develop
a thesis that his essay will explain and support; 2) draw up a segmentation of the entire film and
3) note outstanding instances of film technique. On the structural organization, he opines that,
an argumentative piece has this underlying structure that is starting with the introduction which
gives the background information or a vivid example, leading up to Statement of thesis. While
the body of the essay will offer reasons to believe the thesis, provide evidence and examples that
support the thesis. The conclusion will contain the restatement of thesis and discussion of its
broader implications.

From all indications a thesis, in any piece of writing, is the central claim, an argument is set
to advance; it encapsulates the writer’s opinion. Hence, in developing a thesis for a critical
assessment or an analytical essay, a critic must be able to answer some basic questions which
include: “What do you find intriguing or disturbing about the film?” “What makes the film
noteworthy, in your opinion?” “Does it illustrate some aspects of filmmaking with special
clarity?” Essentially, a thesis requires evidence(s) to survive, thus a writer must supply some reasons
for the reader to believe his claim.

While thinking and writing on film, it had been suggested that some of these reasons one
will use to backup a claim are likely to occur to one immediately as one is seeing the film, but others
will emerge only as one starts to study the film more closely. Most importantly, each of the
conceptual points offered as reasons required concrete evidences and examples from the film.
Finally, “You can sum up the structure of an argumentative essay in the acronym TREE: Thesis
supported by Reasons that rest upon Evidence and Examples.” (Bordwell, 2004).
A Sample of an Analytical Essay
Creative Deployment of Mise-en-scene Components as Narrative Techniques
in “Arugba”

Introduction:

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Mise-en-scene which could be seen as a systematic arrangement of different elements in

a given scene of a movie had been described as “putting into the scene”. The term which was
originally in French, is pronounced “meez-ahn-sen”. This is a component of a film stylistic
system. Other techniques of this system include cinematography, editing or sound. In most
cases all these components or other features of formal system must work together to create a
harmonious whole to elicit certain feeling in the viewers.

The aim of this analytical essay is to critically examine and evaluate the creative
deployment of mise-en-scene components as narrative techniques in “Arugba”. Thus, one could
claim that “the creative use of some mise-en-scene elements has greatly enhanced the aesthetic
quality in Arugba”. The term “aesthetic” as propounded by Alexander Baumgarten ( ), was to
refer to “congnition by means of the senses, sensuous knowledge” while Kant ( ) considered it as to
be “the judgement of beauty in both arts and nature.” Having considered these two foundations of
the term aesthetic, Alan Goldman (2006) opined that:

The concept has broadened once again more recently. It now qualifies
not only judgements or evaluations, but properties, attitudes,
experience, and pleasure or value as well, and its application is no longer
restricted to beauty alone.

Thus, the aesthetic qualities which could be examined in the components of the mise-en-
scene during a critical analysis include, the set, the movement and cast, the costumes, the make-
ups, the props, the light, the manipulation of the space or the graphic etc. However, in this
sample analysis, attempt is made only to diagnose two elements: the set and the
movement/action of identified roles/characters in four selected shots from this film: Arugba.
That is, analysing the compositions of the set and examining the movements/ roles of two
leading characters in this narrative. The aim is to determine how these two components have
been creatively deployed for aesthetics purposes.

Production Data of “Arugba”:

2008. Mainframe Productions. Directed by Kelani, Tunde. Screenplay
by Ade Adeniji; Photographed by Tolu Abiodun, Tunde Ajayi, Edited
by Hakeem Olowookere, Mumuni Wale Kelani Casts: Bukola
Awoyemi, Segun Adefila, Peter Badejo, Kareem Adepoju, Bukky
Wright, Dele Odule, Lere Paimo, Tunde Adeyemo, and Idowu Fabunmi.

The Synopsis of “Arugba”:

The narrative in Arugba is centered on the reign of a king – Oba Adejare [Peter Badejo]
in an unnamed town that is synonymous with the ancient city of Osogbo that hosts the annual
Osun-Osogbo festival in which an Arugba leads a yearly carnival/ritual procession through the
town to the bank of Osun river.

In this narrative, Oba Adejare is fortunate to be crowned as King after the death of his
kin man who was preferred by the town men and women but was wrongly denied and
incarcerated for trying to claim his mandate which the kingmakers and populace had granted
him. In his assumption of office as the prominent ruler of his kingdom, Oba Adejare sets out
to fight corruption in the land. In his efforts to accomplish his goal; he disrobes some chiefs
who are members of his cabinet (the Oba in council) for wrong doings. Prominent among these
are Baba Kekere [Lere Piamo] and Aigoro [Kareem Adepoju].

In his anti-corruption drive, the Oba sets the state machinery to hunt down some of the
perceived oppositions to his style of leadership. A member of his cabinet Aare Alasa [Fatai

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Adiyeloja] who dares to resign for not being in agreement with Oba’s style of administration
is assassinated, while the Oba shows no interest in fishing out the culprits.

As the film goes on, it is revealed that the Oba is incapable or ineffective when it comes
to the management of his polygamous family. His palace as revealed in the film constantly
experience domestic unrest. The narrative equally showcases the flirting traits of the king as
he reveals his preference for the female doctor who is on the term of doctors that visited the
town on behalf of the UNICEF and as he proposes a marriage to Adetutu [Bukola Awoyemi]
who tactically turns him down. For her failure to agree to his personal desire Oba Adejare
refuses to support Adetutu as the chosen Arugba for the year or takes part in the actual festival
after declaring the festival open. However, Aare Onikoyi, one of King’s perceived enemy
gladly stands in for the Oba at ground finale of the annual feast.

As an associational production, other issues raised in the film include a recall to the
source of inspiration for the film, values placed on virginity of a girl child, the coexistence of
a multi religious society, metaphoric reflection on presidential election of June 12 1993 in
Nigeria, the invocation of the myth of Sango, the threaten epidemic of HIV/AIDS, the case of
power failure even at the king’s palace, the Africans enthusiastic toward Barrack Obama’s
presidential election victory in USA, the increase in the Nigerian external reserved base, and
Oba Adejare flare for personal enrichment while in office.

Film Analysis:
In considering the various components of the shot in 01, the frame which is taken from
first sequence after the opening graphic of the film introduces the role of Adetutu (Bukola
Awoyemi). In unfurling the set in this frame, viewers are taken into a metaphysical realm of
the film by revealing Adetutu’s dream through subjective-view. From the sequence where the
shots in 01 and 02 are selected, the narrative reveals Adetutu’s encounters with the marine
queen Iyemoja or the sea goddess and her acolytes are revealed. Through this sequence,
viewers are made to witness how she is initiated her into marine world.

The sets reveal in these frames required high level of creativity to come up with the
impression of spiritual realm. The composition in this marine world is accomplished with the
monochromic golden or yellowish hue serving as the background of a chocolate skilled image
of a young lady in white and black adire costumes. Other visible components at the background
of image of a virgin in 01 include unidentifiable golden cum bushy structure on rocky ground
on one hand. The image of the girl with a fancy pot and calabash on the other hand occupies
almost the centre space at the foreground of the frame. In 02, one could see that the fore ground
of the standing girl is unlit and this gives the impression of a blackish foreground in the frame,
which enhanced the glorification of the emerging image of a beauty, moving towards the
camera. The tinny golden and sparkling stars equally improved the aesthetic quality of vase
sky background of this second shot.

01. the shot reveals Adetutu’s subjective-view of a 02. As a girl in trance she walks towards the sea goddess
metaphysical realm through her dream. who is beckoning on her

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In considering the creative input of cast or character in this frame and its relation to the
entire narrative in the film, one could see that Adetutu, as established in these frames is
presented as a being that is pure to attract the favour of the sea goddess. Throughout the play,
her immaculate state is preserved. Thus, this is one of the reasons she is chosen as Arugba (the
carrier of sacrificial calabash) to lead the annual ritual procession of purification to the river.
As a lady of virtue, she is revealed as a university girl that is still able to keep her virginity on
campus that is sexually corrupt. As a contented lady she tactically rejects the King’s marriage
proposal, despite the glamour that is attached to the status of a queen. In most cases, she does
all she could to liberate those that are oppressed on campus or taken into captive by the
kidnappers. In giving this role a referentially meaning, one could say that the casting of Bukola
Awoyemi for the role of Adetutu or Arugba in this film is based on the fact that she is more or
less a look alike of Gbemisola (the authentic Arugba and the principal celebrant of the Osun
Osogbo festival) while the creation of this character could be inspired by the virtues of the
same girl.
Of cause, viewers could easily attribute the success of Adetutu in all ramifications to
supernatural strength supplied by the marine spirit, yet the fact remains that she is presented as
a virtuous being first, before she is assisted by the supernatural forces. Invariably the role of
Adetutu in the film Arugba could be seen as a positive portrayal of womanhood on Nigerian
screen. This is a departure from the images of women created in films such as Domitila and
Elebolo where ladies are represented as slots or wayward beings.

The composition of the mise-en-scene elements in 03 reveals at the foreground three

distinguished images of Oba Adejare and his daughter and chief Aigoro. These three are placed
against an old architectural bungalow at the background. In this frame, Oba Adejare [Peter
Badejo] and his daughter are revealed looking down with disdain on Aigoro [Kareem
03. Adepoju],
Oba Adejarewhoand is
hisseriously pleading
daughter are revealedforlooking
mercy and04.forgiveness
Oba Adejareonishis wrongdoing.
seen The frameof a
hosting a representative
downin 04 reveals Oba Adejare warmly welcoming a guest who is working on his travelling
with disdain on Aigoro, who is seriously pleading travelling agent that is handling all his travelling
for mercy and forgiveness
documents, on his wrongdoing
in considering arrangement.
the various levels of plane in the frame, one could see that at the
background the two human images have different layers of other mise-en-scene components.
For instance, the window section of a lit cream colour wall is overlapped with a white window
blind, yet there is a standing fan in the front the window cotton on one side, on the other side
of the wall, is the cast shadow of the television on the lit wall, while a television and a flower
stand placed on a shelf are in the front of the wall. All these components in their various plane
formed the background while the human images in the shot are situated at the middle of the
frame and the centre table on which are the king’s horsetail and a tray of glass with some cups
on it occupied the foreground of the frame. From all indications, the mise-en-scene in 04 is
composed with multiple levels of plane and depth of visual information which could be further
analysed.

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 International Journal of Humanitatis Theoreticus. Vol. 2, No. 1; May, 2019

In examining the role of Oba Adejare played by Peter Badejo through a referential
meaning, in Arugba, one could see that, Aigoro is established as very close chief to Oba
Adejare a replica of the relationship that exist between chief Sunday Adewusi and Chief
Olusegun Obasanio during Chief Obasanjo’s reign as president. During this period, some
ministers that were very close to the president are seen as kitchen cabinet ministers,

The particular case of interest reflected in 03 is the case of Chief Aigoro’s unholy
handling of the UNICEF fund meant for the research development on health which brings about
the wrath of Oba Adejare on him is a replica of the turn of event between chief Sunday Adewusi
and Chief Olusegun Obasanjo where the fury of the president came heavily on his close
minister when he discovered chief Sunday Adewusi’s unholy involvement in the National
Identity scam. The way Oba Adejare is seen dealing with chief Aigore in Arugba is a reflection
of how Chief Olusegun Obasanjo dealt with chief Sunday Adewusi. Again one could see that
the active participation of Mrs Akinade the first daughter of the Oba Adejare 03 is another
replica of Iyabo Obasanjo Bello an active participation in national politics during her father
reign, she was a member of the senate during her father’s tenure.

The reflection in 04, with its accompanied dialogue could be decoded from so many
levels. In introducing the sequence, Oba Adejare is seen watching the victory speech of the
United State First African American president, Barrack Obama and wonders why the people
in Africa are so excited on Obama’s presidency. With this shot and other similar scene where
reference is made to Barrack Obama in the film, is structurally designed to reflect the then
international issues/affairs or the global political sensation that were coincident to the time of
the film release.

With the entrance of the travelling agent, viewers are given another depth of story
information. Through Oba Adejare’s dialogue with his visitor, viewers are able to find out that
the Oba Adejare is not a saint after all, that despite his lone anticorruption war, he also has
vested interest in using public fund for personal aggrandizement or for pursuing self interest.

With this critical essay, attempt had been made to examine the creative deployment of
the two components of mise-en-scene as narrative techniques in Arugba. In this evaluation,
four shots are identified and examined. The interpretation of each frame is offered while two
major characters/roles are equally diagnosed to determine their creative contributions to the
success of this film. Consequently, one could claim that the creative uses of the diagnosed
elements of the mise-en-scene, have greatly enhanced the aesthetic quality of the film: Arugba.

Conlusion
It is germane to conclude by reiterating some of the issues addressed in this study. Hence,
the paper has been able to identify a good number of film theories and treated some of these
theories. Secondly the chapter has been able to discuss in detail formal approach to film
appreciation and give guidelines for students on how formalist approach could be deployed in
film report, film review or critical appreciation. Finally, the study has been able to demonstrate
in practical term, how formalist theory could be used in a critical appreciation of film. It is
believed that students must have gained an insight on basic concepts of selected film theories,
and must be able to understand and discuss basic principles of formalism theory or know how
to apply formal theory in film report, film review or critical appreciation of film.

References

Bordwell, David and Kristin Thompson. (2004). Film Art: An Introduction 7th Ed. New York:
The Mc Graw-Hill Companies, Inc.

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Bordwell, David (2004) The McGraw-Hill Film Viewer’s Guide. N.Y: The McGraw-Hill
Companies, Inc

Bogg, Joseph M. and Dennis W Petrie (2008) The Art of Watching Film (7th Ed) NY: The
McGraw-Hill Companies, Inc.
Goldman, Alan. (2006). The Aethetic. Berys Gaut and Dominic Malver Lopes Ed. The
Routledge Companion to Aesthetic (2nd Ed). London: Routledge Taylor & Francis
Group.

Rushton, Richard and Gary Bettinson (2010). What is Film Theory? NY: The McGraw-Hill
Companies, Inc.

Ola-Koyi, S. Joseph B. (2015). The Anotomy of Visual Narrative in Selected Nigerian Films
in Yoruba Language. An Unpublished Manuscript.

Baumgarten, Alexander “aesthetic” Kant “aesthetic”

Film References

Kelani, Tunde. 2008. Arugba. Mainframe Productions.

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