An Aesthetic Appraisal of Omoni Oboli movies

Authors

  • Prof. Nsikan-Abasi Nkana Department of Broadcasting, University of Uyo, Nigeria Author
  • Ememobong Ukeme Okon Department of Film and Multimedia Studies, University of Uyo, Nigeria Author

DOI:

https://doi.org/10.68050/JAMS.2026.537

Keywords:

Aesthetics, Anaesthetics, Omoni Oboli movies, Nollywood

Abstract

This study set out to ascertain the extent to which Omoni Oboli movies utilized the aesthetic elements of lighting, sound, space, time and motion; and dramatic elements of characterization, suspense, costume, makeup/props and synergy to determine their appeal. Omoni Oboli movies produced in 2025 constituted the population (36 movies), while ten percent(4 movies) of the population constituted the sample. Four movies: Love in Every Word, Chess, Then I Found You and A Night with Mr. Daniels were selected based on a simple
random sampling technique. The content Analysis research technique was adopted for the study. The study found out that Colour/Illumination, Sound Effect, Actor’s Voices, Psychological Duration and Balance were the most effectively utilized aesthetic elements, accounting for 80%; while Costume was the most effectively utilized dramatic element (100%). The study recommends that time should be effectively managed and scripts should be subjected to scrutiny after being written by professionals to ensure that suspense is embedded.

38 19

References

1. Akpan, E., & Etuk, U. (1990). Aesthetics: Philosophical and Artistic Dimensions. Modern Business Press Limited.

2. Asuquo, N. B. (2014). Proper lighting: An imperative for effective communication with dance performances. Dance Journal of Nigeria, 1(1), 246–265.

3. Ajiwe, U. C., & Chukwu-Okoronkwo, S. O. (2015). Perception of sound: A study of selected Nollywood video films. Journal of Social Sciences and Humanities, 1(2), 48–58.

4. Ayakoroma, B. F. (2014). Trends in Nollywood: A Study of Selected Genres. Kraft Books Limited.

5. Ayeni. (2025, December 16). Omoni Oboli’s “Love in Every Word” tops Nigeria’s most searched Nollywood movie in 2025. Shockng.com. (Retrieved February 9, 2026).

6. Barsam, R., & Monahan, D. (2010). Looking at Movies: An Introduction (3rd ed.). W. W. Norton & Company.

7. Bordwell, D., & Kristin, T. (1997). Film Art: Introduction (5th ed.). McGraw-Hill.

8. Cutting, J. E. (2016). Narrative theory and the dynamics of popular movies. Psychonomic Bulletin & Review, 23(6), 1713–1743. [https://doi.org/10.3758/s13423-1051-4](https://doi.org/10.3758/s13423-1051-4)

9. Enyindah, S. C. (2022). Film aesthetics: Beyond the promise of narratives. Language, Literature and Communication Journal, 4(2), 11–18.

10. Eseigbe, O. P. (2022). Dance movements and accompaniments in traditional African festival performance. University of Uyo Journal of Humanities, 26(2), 241.

11. Fasan, Y. (2025, December 10). Omoni Oboli wins YouTube Nigeria content creator of the year award. The Nation. (Accessed and retrieved February 4, 2026).

12. Gianetti, L. (1993). Understanding Movies (6th ed.). Prentice-Hall Incorporated.

13. Ivwighren, H., Irori, O., & Ivwighren, H. E. (2023). Home videos and the Nigerian youths: A study on the morals and cultural values in Delta State. Indonesian Journal of Social Studies, 6(2), 208–220.

14. Johnson, E. (2003). Visions Towards a Mission: The Art of Interpretative Directing. Concept Publications Limited.

15. Johnson, E. (2004). Aesthetics: The Dialectics and Theatrics of Theatre and Communication. Concept Publications Limited.

16. Mukherjee, D. (2022). The aesthetic and the material force of landscape in cinema: Mediating meaning from the scene of production. Representations, 157(1), 115–141.

17. Nkana, N. S. (2008). Aesthetic and artistic criteria for the assessment of television drama. The Crab: Journal of Theatre and Media Arts, 4, 153–165.

18. Ndu, M. (2023). Authenticity in Nollywood costuming. Madonna Journal of English and Literary Studies, 4(1), 330–347.

19. Ndon, B. E. (2013). Aesthetics of junk: A synopsis of contemporary junk artists. Journal of Media and Aesthetics, 4(1), 98–121.

20. Sotimirin, T. (2019). Contextual deployment of music by the national troupe of Nigeria in the performance of Wole Soyinka’s Death and the King’s Horseman. The Parnassus, 15, 147–164.

21. Udomisor, I. W., & Sonuga, A. (2012). Content analysis of programs produced by Nollywood particularly on Africa Magic, DSTV. Research on Humanities and Social Sciences, 2(11), 27–34.

22. Yilmaaz, M. B., Lotman, E., Karjus, A., & Tikka, P. (2023). An embodiment of the cinematographer: Emotional and perceptual responses to different camera movement techniques. Frontiers in Neuroscience, 17, 1160843.

23. Zettl, H. (2011). Sight, Sound, Motion: Applied Media Aesthetics. Wadsworth Cengage Learning.

Downloads

Published

2026-09-24

How to Cite

An Aesthetic Appraisal of Omoni Oboli movies. (2026). Journal of Advanced Multidisciplinary Studies (JAMS), Page 572-586. https://doi.org/10.68050/JAMS.2026.537

Similar Articles

You may also start an advanced similarity search for this article.