TELEVISION BROADCASTING, REALITY TV SHOWS AND MORAL DEVELOPMENT OF NIGERIA YOUTHS
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TELEVISION BROADCASTING, REALITY TV SHOWS AND MORAL DEVELOPMENT OF NIGERIA YOUTHS
Chapter one
1.1 Background of the Study
A film, often known as a movie or motion picture, is a collection of still or moving images created utilising animation methods or visual effects. Film also refers to a series of images shown onto a screen to give the illusion of movement.
Film originated nearly 700 years ago. Mark Peter Roget established the “Persistence of Vision” idea in 1824, laying the groundwork for what is now known as film.
The history of film cannot be attributed to a single figure, as oversimplification of any history frequently attempts to do. Each creator contributed to the growth of previous inventors.
The experimental Era was marked by 19th-century American and French scientists conducting experiments and attaining tremendous achievement in the evolution of images.
When magic lanterns became popular in the 1800s, individuals in Europe and the United States wanted to be able to use them at home. In fact, during the 1800s, no dinner party was complete without a magic lantern display. Various image projection devices for enjoying at home have been developed.
These were miniature gadgets known as motion toys, which were considerably different from the typical magic lantern. All of these technologies originated in scientific experimentation.
One of these tests was based on a novel notion (for the 1800s) known as persistence of vision, which refers to the eyes’ ability to keep an image long when its possessor or source has been removed.
This idea spurred several efforts to design mechanisms that could combine distinct still photos into a single movie image; as a result of these concepts, a variety of technologies for presenting images were developed. Here’s a list of each one, along with the creator.
Thaumtrope: invented by John Ayton in Paris in 1862. This was a card linked to a string, with one side showing a horse and the other showing a man riding. When the card rotated, it seemed that the man was riding the horse.
The phenakistoscope was invented by several different people in the early 1800s. This was a plate-sized disc having spinning image sequences; when viewed through the aperture of this device, a moving image appeared.
The zoetrope, invented in the 1860s by many inventors, was remarkably similar to the phenakistoscope. It was a bowl-shaped gadget with a strip of drawings around its inside circumference.
When the bowl was spun, the observer gazed through slot word zoetrope re surface, which was the name Francis Ford Coppla chose for his production company and studio.
Emile Reynaud created the praxiniscope in the early 1870s. It was almost identical to the zoetrope, except that it employed mirrors.
Edward Muybridge created the first motion picture in 1872. He started experimenting with capturing moving photos. This man set twelve cameras on a race horse track, distributed thread across it, then connected the thread to a camera shutter.
When it ran across the track, its leg snapped the thread, causing the camera to work sequentially. The end product was twelve photos of a horse’s gait. Worth an invention of this called the Zoepraxisco, he was able to quickly project these images, creating what is known as motion photography and the first movie to ever exist in the midst of all the competition the man who created the praxiniscope theatre, which was later known as the theatre optique.
This gadget was fundamentally the same as the praxinoscope, however it used a lantern to project images onto a wide screen, allowing an audience to view.
In 1885, two men named George Eastman and William H. Walker created the first reels of film. Film was sensitised with paper gelatin emotion. A year later, it was superseded by celluloid, a synthetic plastic substance developed in the 1870s and employed in the chemical composition cellulose cell wall.
The Kintegraph was invented by Thomas Edison’s British employee, William Kennedy Laurie Dickson. It was a machine that could take a sequence of photos in the same way that a camera does, except it automatically snapped a picture of a moving image every half second.
The images were placed in his second creation, a kinescope. This device featured a motor and a shorter mechanism that drove a loop of film attached to an electrical light source. The audience will look through a small window to observe the moving image.
Following these two inventions, the Lumiere Brothers (August and Louis) produced cinematography, a lightweight hand-cranked system. When connected to projecting equipment similar to that used in magic lantern performances, it could snap photographs and instantly exhibit big images.
With the invention of cinematography, German, English, Italian, British, and American inventors became “hot on their heels”. The competition to find the next big invention that could outperform anything created thus far in film history was heating up.
The shift of film into the 1900s was aided by increased competition among inventors, film’s ease of reproduction, the opportunity to deploy propaganda in cinema, and, in general, its attractiveness to burgeoning cities.
D.W Griffin, a writer, actor, and cameraman, also made significant contributions to the film’s development. He pioneered a variety of modern filmmaking techniques, including scheduling rehearsals before final shooting scripts and the use of close-up shots.
His famous picture, “The Birth of a Nation” (1915), was a three-hour epic that required over a thousand people and cost over $125000 to complete.
According to studies and records, cinema first arrived in Nigeria in 1903 as a result of the late Herbert Macaulay’s invitation to the Balboa and Company Theatre Troupe, which had journeyed to the coast of West Africa to display silent pictures at the time.
The Glover Memorial Hall was used to screen films. This enterprise was hugely successful, paving the way for future European cinema screenings in Nigeria.
According to Ekwuasi (1987:9), the colonial authority became interested and imported a large number of foreign films into Nigeria. Distribution and presentation of films began shortly after production, but were limited to the Lagos colony.
According to Ekwuasi (1984), these films had to compete with stage concerts and theatre shows, and their material was subjected to strict drama regulation. Within a short period of time, this new culture expanded across Lagos and beyond.
As the country’s industry grew, infrastructure were needed to facilitate its growth and successful distribution. Nweke (1995) stated that distribution and exhibition centres needed to be established in these new locations.
World War 11 increased colonial government intervention in the filmmaking industry, resulting in the founding of the colonial film unit (CFU), which was founded under the banner of the Ministry of Information to make ‘propaganda’ films to boost Nigerian support for the war.
Another significant milestone in the film’s development was the introduction of the unit. It was the effect of achieving independence. In 9170, Calpheny produced Kong’s harvest, which was directed by an American, Ossie Davies. Many Nigerians viewed this film as their first feature.
Other filmmakers who appeared later were Ola Balogun, Hubert Ogunde, Sanye Dosumu, Jab Adu, Eddie Ugbomah, Ade Folayan, Moses Adejumo Olaiya, and others.
These early filmmakers made a number of significant films, including Ola Balogun’s Alpha Black Goddess, Sanya Dosunmu’s Dinner with the Devil, Ija Omiran Ajannir Ogun, Cry Freedom All Ola Balogun, and Jab Adu’s Bisi’s Daughter of the River.
Others include Hubert Ogunde and Wole Soyinka’s Blues for the Prodigal, Eddie Ugbomah’s The Rise and Fall of Oyenusi, Adamu Haliu’s Hausa Village, and Duba Day!
By the late 1980s, celluloid had given way to videocassettes, which were cheaper and easier to edit. Then, in 1988, Ade Ajiboye produced “Sosomeji,” Nigeria’s first video-made film. It was believed that this change would help win Nigerians’ hearts away from the American Indian and Chinese films that dominated the movie screens.
Contrary to claims that Kenneth Nnebue’s “Living in Bondage” was Nigeria’s first video film, many films had been produced prior to 1992. Kenneth Nnebue, then a movie promoter and distributor, invested in the production of some low-budget video films such as Aje ni Lyami, Osa Eleye, and Ija Eleye between 1988 and 1999.
The truth is that it was “Living in Bondage” (1992) that first gained national popularity and signalled the beginning of a new dawn, which is now known as Hollywood.
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