The Nigerian film industry, otherwise known as Nollywood, has been acknowledged to be the second-largest in the world in terms of volume of production. This fact presents an interesting vista worthy of investigation, especially with regard to the quality of the films produced. It is in respect of this premise that this article examines the plot of the Nigerian film—a feature capable of affecting the popularity of the film. The essay, having dwelt on what plot is, critically examines the Nigerian film plot and finds that Nollywood films mostly adopt an episodic structure, thereby making them unnecessarily long. Besides (and this is systemically related to episodic structure and to a natural tendency in Nigerian rhetoric), many of the films tend to be too wordy, too chatty, over-padded, thus often earning them scathing criticism. The challenges of scriptwriting in this regard are examined, culminating in recommendations for how to improve the quality of scripts through plot construction in this vibrant film culture.
Remi A. Adedokun“Hollywood Films—A Comedy of Errors in Camera and Continuity Interplay,”International Journal of Multi-Disciplinary Scholarship(Accra) 3/5 (2008): 259; Ladi Ladebo “Scripting/Directing” in Making the Transition from Video to Celluloid ed. Hyginus Ekwuazi Mercy J. Sokomba & Onyero Mgbejume (NFC/UNESCO workshop project; Jos: National Film Institute 2001): 82.
Jimi Odumosu“Writing the Feature Film Script,” in Making the Transition from Video to Celluloided. Hyginus Ekwuazi Mercy J. Sokomba & Onyero Mgbejume (NFC/UNESCO workshop project; Jos: National Film Institute 2001): 99–101.