[01] Uchechukwu C. Ajiwe, Department of Theatre and Film Studies, University of Port Harcourt, Port Harcourt, Nigeria. [02] Samuel O. Chukwu-Okoronkwo, Department of Mass Communication, Abia State University, Uturu, Nigeria.

The creation of a believable reality in a film story requires appropriate application of both visual and auditory elements to achieve an effective communication. Thus, the film medium is a vital instrument in the hands of man for the transformation of his natural world and the projection of his ideal world to other human beings. Film is one of the fascinating and easiest means of communication in Nigeria, due to its wide range of audience consumption. Hence, the audience invariably accentuates the reality of the filmic experience. The concept of audience in film studies highlights a collective of people who are responsive to film viewership. The audience is necessary for filmmakers’ profit, and as such filmmakers construct their film very specifically in the hope of pulling substantial audience turnouts, which readily predisposes the filmmakers’ product to be predominantly audience-driven. Through the films produced, the audience is educated and entertained. This is therefore an obvious indication that film is a medium of mass communication that is very powerful when effectively packaged and employed. The artistic communication in film is enhanced by visual and auditory elements. Thus, film uses visual and auditory elements to create narrative messages. Sound may not be noticeable when watching a film story, but sound and music constitute powerful film technique(s) which, when appropriately applied, enhance effective communication. As a result, when watching a film, the viewers react with the variations in sound that are in tune with the action of a film story. However, despite the inseparable complementary role between the visual and auditory elements of film production, sound seems to remain a silent or a secondary issue in film production and analysis discourse. The study is therefore motivated by this apparent lack of attention, to highlight the invaluable significance of sound, while critically examining the indices that condition its perception in Nigerian Nollywood landscape.

Film, Nollywood, Semiotics, Sound, Sound Perception

[01] Abuja, I. (2001). “Film Sound (2)”. In Ekwuazi, et al; (ed.) Making the Transition from Video to Celluloid. Jos: National Film Cooperation: 193-198. [02] Ajiwe, U. and Okwuowulu, C. (2010). “From Script to Screen: A Semiotic Approach”. In Nereus, Y. T. et al. (ed.) Nigerian Literature, Structural Adjustment Policy and Globalization: Proceedings of the International Conference on Nigerian Literature. Gombe׃ Gombe State University. pp.263 – 273. [03] Aloba, F. (2001). “Sound (1)”. In Ekwuazi, et al; (ed) Making the Transition from Video to Celluloid. Jos: National film cooperation: pp. 185 – 192. [04] Blake, L. (2001). Apocalypse Now REDUX. Accessed on 14 March, 2015 from http://www.mixonline.com/news/profiles/apocalypse-now-redux/373389 [05] Bordwell, D. (1985). Narration in the Fiction Film. New York: Rutledge. [06] Bordwell, D. and Thompson, C. (2004). Film Art: An Introduction. (7th ed.) Boston: McGraw Hill. [07] Blake, L. (2001). Aug. 1, 12:00 Apocalypse Now Redux. http:// mixonline. Com.meg/Aduio apocalypse redux. Retrieved 04/02/ 2011. [08] Carboni C. (2007). Film Spectatorship and Subjectivity: Semiotics, Complications, Satisfaction. M. A. Thesis submitted to the Department of Drama, University of Stellenbousch. [09] Cobley, P. and Jansz, L. (2004). Introducing Semiotics. Thomson and Wadsworth, USA. [10] Danes, M. (2007). The quest for meaning a guide to semiotic theory and practices London׃ University of Toronto Press. [11] Ekwuazi, H. (2007). Advertising on Television: The Television Commercial from Premise, through Concept and Copy to Story Board and Production. Ibadan: Stirling-Horden publishers. [12] Emelobe, D. E. (2008). “The Role of African Films in Postcolonial Discourse”. In Izuu N. et al. (eds.) Professor Femi Osofisan International Conference on Performance: Proceedings Ibadan: Joytal Press: 426 – 433. [13] Galadima, U. S. A. (2001).” Production Design”. In Ekwuazi, H. et al. (Ed.) Making the Transition from to Video Celluloid. Jos: National Film Corporation. (142 -148) [14] Haywood, S. (2001). Cinema Studies: The key Concepts (Second Edition). London: Routledge. [15] Metz, C. (2004). “Aural Objects”. In Baudry et al. (ed). Film Theory and Criticism. New York: Oxford University Press: 366 – 309. [16] Shaka, F. O. (2007). “Introduction to Film/Television Studies”, in Henry L. Bell-Gam (ed.) Theater in Theory and Practice for Beginners. Port Harcourt ׃University of Port Harcourt Press: 124 – 145. [17] Stam, R. (2000) Film Theory: An Introduction. Oxford: Blackwell Publishers [18] Storm, P. (1987). Functions of Dress: Tool of Culture and the Individual. New York: Prentice Hall. Print.