Please use this identifier to cite or link to this item: http://ir.library.ui.edu.ng/handle/123456789/9037
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dc.contributor.authorAkangbe, C. A.-
dc.date.accessioned2024-04-24T16:49:59Z-
dc.date.available2024-04-24T16:49:59Z-
dc.date.issued2014-06-
dc.identifier.issn1595-1324-
dc.identifier.otherui_art_akangbe_photo-dramatics_2014-
dc.identifier.otherYorùbá: Journal of the Yoruba Studies Association of Nigeria 7(3), pp. 88-129-
dc.identifier.urihttp://ir.library.ui.edu.ng/handle/123456789/9037-
dc.description.abstractThe photo-dramatics of Atoka implies the various dramaturgical devices employed in creating Atoka photoplay magazine. The composition of the photoplay magazine relies extensively on the editorial and creative ingenuity of Olotuu (editor) who controls the three-modal arts of Atoka, namely: dramatic art, photographic art and publishing art. Atoka tells its stories primarily in photographs, hence series of artistic and technical manipulations to convey its dramatic story vividly to its readers. This paper which adopts Roland Barthe‟s photo-semiotics examines the photo-dramatics of Atoka, dwelling on its various dramaturgical devices of adaptation techniques; photographic shots, shots imposition and continuous dialogue; editorial intervention: speech balloons, thought bubbles, and cap prints; and intro and recap devices.en_US
dc.language.isoenen_US
dc.publisherYorùbá Studies Association of Nigeriaen_US
dc.subjectAtokaen_US
dc.subjectPhotoplay magazineen_US
dc.subjectPhoto-dramaticsen_US
dc.subjectPhoto-semioticsen_US
dc.titleThe photo-dramatics of atọ́ka photoplay magazineen_US
dc.typeArticleen_US
Appears in Collections:Scholarly works

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