Citation: Mohammed, Ahmed ADO & Aishatu ABUBAKAR (2025). An Autopsy of Literary Devices in the Script of Malam Zalimu Kannywood Movie, Nigeria. Yobe Journal of Language, Literature and Culture (YOJOLLAC), Vol. 13, Number 1. Department of African Languages and Linguistics, Yobe State University, Damaturu, Nigeria. ISSN 2449-0660
AN AUTOPSY OF LITERARY DEVICES IN THE SCRIPT
OF MALAM ZALIMU KANNYWOOD MOVIE, NIGERIA
BY
MOHAMMED AHMED ADO
AISHATU ABUBAKAR
Abstract
Literary devices are fundamental components
and ingredients for a screenplay’s aesthetic qualities and overall impact.
Despite the critical role of literary devices, there is a noticeable gap in
studies on their usage, particularly in the Kannywood scripts. Therefore, this
paper explored the kind of figure of speech used as literary devices in the
script writing of Mallam Zalimu Kannywood movie and their impact on screenplays
to enhance the quality of the narrative styles. To achieve these, the paper employed
a qualitative descriptive design via content analysis of the existing script of
the Malam Zalimu movie. The data was analysed thematically using Muniz's (2020)
theoretical framework. The paper identified character dialogues in the movie,
where each character’s dialogue was interpreted, revealing various figures of
speech such as mood, flashback, anaphora, hyperbole, metaphor, and others. The
paper revealed that various literary devices were utilized to enhance the
quality of script narratives and engage the audience. It discussed how the use
of different moods as a literary technique can set the emotional atmosphere of
the script, influencing how the audience feels while reading or watching the
movie. Additionally, the paper highlighted that flashbacks provide a rich
backstory, adding depth to characters and context to their actions.
Furthermore, the paper showed that the use of anaphora—repeating a word or
phrase at the beginning of successive clauses—creates a rhythm and emphasizes
key points, making the script more engaging and impactful. The inclusion of
hyperboles, with their exaggerated claims, adds a layer of dramatic intensity
and humour, amplifying emotions and situations. Finally, metaphors serve as a
bridge, connecting the audience with complex ideas and emotions, adding depth
and colour to the narrative, and making abstract concepts more tangible and
relatable.
Keywords: Literary
Devices, Figure of Speech, Kannywood, Nollywood, Script Writing
1.0
Background
1.1 Literary Devices
Literary devices are the heart and soul of
every expression. These devices breathe life into words and are common to all
forms of a language, whether it is a narrative, story-writing, drama,
newspaper, or poetry. They are considered a dress of thought (Markhill, 2011). People
love to see their favourite movie stars delivering those wonderfully scripted
dialogues with great passion and intensity. All these expressions are a
manifestation of the beauty of words, which one refers to as literary devices.
The English Language encompasses a host of literary devices that make it so
rich and expressive. They provide a broad structure under which all the types
of literature are classified, studied, and understood. The importance of
literature in the portrayal of human emotions is best understood by the
application of these devices.
Muniz (2020) claimed that literary devices
are techniques that writers use to create a special effect in writing to convey
information or to aid readers understand their writing on a deeper level.
Often, literary devices are used in writing for emphasis or clarity. Authors
also use literary devices to strongly connect readers with a story, specific
characters or themes.
By knowing different literary devices, the
reader will be able to read a text and detect many layers of meaning that are
applied to the story using different techniques, because literary devices make
the text more interesting and fun to read. Not being able to understand
literary devices will make it harder for a reader to have a clearer
understanding of the overall meaning and purpose of a text or how certain
events happen the way they do, and why the author uses a language to describe
the characters.
Literary device is a broad term for all the
techniques, styles, and strategies an author uses to enhance their writing.
With millennia of literature in hundreds of different languages, humankind has
amassed quite a few of these writing devices, which continue to evolve.
Literary devices can entail general elements that come back again and again in
a work of literature, as well as the specific treatment of words only used
once. A literary device is anything that can take boring or flavourless writing
and turn it into rich, engaging prose!
On the other hand, Glatch (2023) viewed
literary devices as ways of taking writing beyond its straightforward, literal
meaning. In that sense, they are techniques for helping the reader in how to
read the pieces.
Literary elements refer to aspects or
characteristics of a whole text (Karma, 2010). They are not “used,” per se, by
authors; we drive what they are from reading the text. Most literary elements
can be derived from any and all texts; for example, every story has a theme,
every story has a setting, every story has a conflict, every story is written
from a particular point of-view, etc. In order to be discussed legitimately,
literary elements must be specifically identified for that text.
Moreover, literary techniques refer to any
specific, deliberate constructions of language that an author uses to convey
meaning. An author’s use to a literary technique usually occurs with a single
word or phrase, or a particular group of words or phrases, at one single point
in a text. Unlike literary elements, literary techniques are not necessarily
present in every text (Lucas, 2008).
Literary devices are techniques writers use
to create special effects in writing. Writers further use literary devices to
convey information, or aid readers to understand the deeper level of their
writing (Muniz, 2020). On the other hand, authors often used literary devices
in writings for emphasis and clarity. In fact, literary devices enable readers
to connect more strongly with specific characters, themes or a story (Muniz,
2020). Studies revealed various kind of literary
devices where Ellis (2020) for instance, identified 8 types of literary
devices, while Muniz (2020) branded and conceptualized 31 across prose and
poetry. Therefore, the researcher adopts Muniz's (2020) types of literary
devices as a theoretical framework in the analysis of figures of speech used in
the writing of “Malam Zalimu” script used in the Kannywood industry. These
literary devices are: Allegory, Alliteration, Allusion, Anachronism, Anaphora,
Anthropomorphism, and Asyndeton. Colloquialism, Epigraph, Epistrophe,
Euphemism, Flashback, Foreshadowing, Hyperbole, Imagery, Irony, Juxtaposition,
Malapropism, Metaphor/Simile, Metonym, Mood, Onomatopoeia, Oxymoron, Paradox,
Personification, Repetition, Satire, Soliloquy, Symbolism, Synecdoche, and Tone.
1.2 Why the Kannywood Theatre or
Film Industry?
Theatre and the film industry distinctively
share common origins in the performing arts and storytelling. Theatre is a live
performance art form that involves actors, scripts, sets, and an audience
(Allan, 2010). It has ancient origins, dating back to ancient civilizations
such as the Greeks and Romans. Greek theatre, for instance, emerged in the late
19th and early 20th centuries with the
invention of cinematography. Lumiere brothers first public screening of films
in 1895 is often considered the birth of the modern film industry. Over time,
film evolved from silent films to “talkies” with synchronized sound, becoming a
major entertainment medium globally.
Kannywood film industry, also known as
Kannywood, represents the Hausa-language film sector of the larger Nigerian
film industry, Nollywood. The Nigerian Kannywood industry is situated in Kano
and is recognized for its distinctive productions deeply rooted in the
cultural, social, and linguistic dynamics of the predominantly Hausa-speaking
northern region of the country. The origins of Kannywood can be traced back to
the late 1990s and early 2000s, marking a significant development in the
Nigerian film industry. Initially, Kannywood started with modest productions
and gradually gained traction, eventually becoming a prominent sector within
Nollywood (Alkali, 2015). Kannywood films predominantly revolve around themes
rooted in the Hausa culture and Islamic traditions, addressing topics such as
family, love, religious teachings, societal issues, and morality. The genres
range from romantic dramas, comedies, historical films, to religiously themed
narratives. The predominant use of Hausa language in Kannywood films caters to
the cultural and linguistic diversity of the region. The Kannywood movies
revolved deeply around the Hausa speaking audience, addressing their cultural
values, customs, and traditions. It has currently become an international
venture cutting across European and Asian markets. Kannywood has its unique
style of production. The film making process encompasses scriptwriting,
casting, shooting, editing, and distribution. Over the years, the industry has
integrated the modern equipment and technologies to enhance production quality.
Kannywood has produced notable actors, actresses, directors, and producers who
have made significant contributions to the industry. Well-known personalities
include Ali Nuhu, Sani Danja, Rahama Sadau, Nafisa Abdullahi, and Aminu Saira,
among others. Kannywood such as any film industry, faces challenges such as
piracy, limited distribution networks, funding issues, and the need for more
professional training and education. However, it also presents opportunities
for growth, especially with increasing interest in African cinema globally.
Kannywood films has a profound cultural impact, shaping societal perceptions,
influencing behaviour, and acting as a medium for moral and social education.
They also play a role in preserving and promoting language and culture.
Kannywood films have gained recognition on the international stage,
participating in film festivals and receiving acclaim for their unique
storytelling and cultural significance. The Kannywood film industry is a vital
part of Nigeria’s diverse film landscape, providing a platform for the
expression of Hausa culture, language, and traditions through the powerful
medium of cinema. Its growth and evolution over the years underscore its
importance and potential in the Nigerian and global film scene.
Umar (2019), identified 3 types of Kannywood
script, thus: long movie script, short movie script and season movie script.
Similar to many other film industries, script in Kannywood film industry is a
fundamental aspect of the filmmaking process. It guides the production and
execution of movies, ensuring a cohesive and compelling storyline. For
instance, a long movie script, often referred to as a feature-length script, is
a comprehensive screenplay for a full-length film. It includes detailed scene
descriptions, dialogue, character actions, and other necessary elements. Long
movie scripts typically range from 90 to 120 pages or more, depending on the
genre and complexity of the story. These scripts provide a thorough narrative
structure, character development, and pacing for a complete cinematic
experience.
On the other hand, short movie script is a
condensed screenplay designed for shorter film productions. Short films usually
have a much shorter duration compared to feature-length films, typically
ranging from a few minutes to around 40 minutes. The script for a short film is
concise, focusing on presenting a clear and impactful story within the limited
timeframe. Short movie scripts require effective storytelling and efficient use
of dialogue and visuals to convey the intended message. However,
in recent years, the concept of season movies, akin to television series,
has gained popularity in the Kannywood industry. A season movie script is an
evolving script developed for a TV series-like format, where the storyline
extends to over multiple episodes or seasons. Each season consists of several
episodes that contribute to the overarching plot. The script for a season movie
requires careful planning of plotlines, character arcs, and subplots to sustain
viewer interest and engagement over the course of the series. Meanwhile, the
focus of this paper is on analyses of the short movie script “Mallam Zalimu”.
1.3 Statement to the Problem
Literary devices have critical role in
enhancing the aesthetic quality and impact of screenplays, however there is a
noticeable gap in studies on their usage, particularly in the Kannywood
scripts. Evidence revealed the existence of many studies on a set of guidelines
for script writing, without giving attention to the use of literary devices.
Literature also shown a comprehensive analysis of speech acts used in movie
scripts with limited attention to literary devices. Studies indicated paucity
of concern to application and impact of figures of speech use in Kannywood
scriptwriting. This is because, this lack of scholarly attention may not only
limits the understanding of Kannywood’s narrative style but also undermines the
potential learning for budding the upcoming scriptwriters. It further hampers
the appreciation of these movie’s cultural nuances and storytelling techniques,
Therefore, this paper explored the use of
literary devices used in Kannywood scriptwriting. It further revealed the kind
of figures of speech used to enhance the script’s narrative and aesthetic
appeal in movies via a script called “Mallam Zalimu”. The major aim is to
contribute to the academic discourse on Kannywood industry and provide valuable
insights for scriptwriters and movie enthusiasts alike. “Malam Zalimu” is a
short-scripted movie played for 1 hour, 15 minutes and 38 seconds, written by a
celebrated Kannywood producer: Ado Ahmad Gidan Dabino.
2.0 Related Literature
2.1 Scriptwriting
Script writing is an art and craft of writing
scripts for mass media such as feature films, television productions or video
games. Screenwriters are responsible for researching the story, developing the
narrative, writing the script, screenplay, dialogues and delivering it, in the
required format. Screenwriters therefore have great influence over the creative
direction and emotional impact of the screenplay and the finished film.
Screenwriters either pitch original ideas to producers, in the hope that they will
be optioned or sold; or are commissioned by a producer to create a screenplay
from a concept, true story, existing screen work or literary work, such as
novel, poem, play, comic, or short story (Sadiku, 2013).
It is also maintained that, a script is a
document that comprises setting, characters, dialogue, and stage directions for
movies, TV shows, and stage plays. When directors stage such productions, they
follow the instructions provided by the script. In live theatre, scripts are
known as play scripts. In film and television, script writers are called
screenwriters. A film script is called a screenplay, and a TV script is called
a teleplay (Jenny, 2011).
Various types of script writing are
conventionally acceptable, namely: Original script, adapted script, screenplay,
storyboard, spec script, standalone script, pitch script, shooting script,
commissioned script, shooting script. According to Gert (2011) Original scripts
are the type of scripts that are created from personal idea that does not
relate to any existing work. Dwan (2020) claimed that one can adapt a script by
updating the time preperiodic or re-creating a story in one’s own personal
style (Adapted Script). To Collins (2008) a script could be screenplay meant
exclusively for a visual medium, such as film or television. This type of
script focuses on visual elements and often includes instructions about what
the audience sees. Screenplays often use a traditional story structure and
usually fall within a set length that depends on their subtype.
A storyboard on
the other hand, is a type of script that uses both writing and images to convey
a story. You can create a storyboard by sketching a brief scene, adding the
dialogue from that scene, and arranging several of these sketches in a
chronological sequence. Professionals often use storyboards for animated
productions and may also use them to help them visualize a screenplay before
filming (Johnson, 2005). On one hand, a spec script, short for speculative script, focuses on an
existing script that one lacks official rights over. Script writers use spec
scripts to demonstrate their writing ability or tried to get hired for
particular properties (Hamilton, 2015).
On the other hand, Clark (2022) pointed out
that script could be standalone for a franchise that contains the same
characters, world and tone of an existing property. These types of script are
more common in episodic media, such as TV shows. Pitch scripts are different
from other kind of scripts because they usually involve properties one already
involves with or have the rights on. For example, if a movie studio asks one to
create sequel to a popular franchise, he/she can create a pitch script to show them
your basic ideas or the film (White, 2014).
Meanwhile, a shooting script is a collection
of directions that helps a film or television program understand which scenes
to shoot and in what order (Allan, 2017). In screenplay, there are thirteen
(13) types of scripts more, five (5) of which are relevant with the current
paper, namely: commissioned script, shooting script, film script, TV pilot
script, short film script, documentary script, plays, video game script.
2.2 Empirical Review
Review of relevant literature revealed
literary devices as aspects of literature that can be recognized, identified,
interpreted and/or analysed. Studies also showed that both literary elements
and techniques are part of literary devices (Dallacqua, 2012). Literature
review found the existence of many works on the on literary devices. For
instance; Ashley (2012) explored the use of literary devices in graphic novels.
Ashley (2012) focused on fifth graders over the use of four graphic novels
within a year via qualitative research design. The discussions about the books
were videotaped, providing a rich source of both verbal and non-verbal data.
The methodology involves students individually reading and identifying parts
they found interesting or confusing using sticky notes. Webb’s method of
triangulation was used to analyse the data involving cross checking transcripts
from book discussions, and student interviews. The findings indicated that
students were engaged with the literary devices found in the graphic novels,
suggesting that novels can be effective tools in teaching literary devices. The
study implied that graphic novels were valuable tools in promoting literacy and
critical thinking skills in the classroom discourse.
In a similar study, Farzaneh and Sayyah
(2012) focused on a set of guidelines for facilitating movie script writing.
With the aid of mixed method design, the study triangulated data derived for
evaluation and revealed a tool for transferring knowledge in organizations. The
study also found that experts and managers revealed guidelines as useful tools
that could easily be understood, having a positive result of 75.58%. Based on
these results, the scholars recommended that managers and screenwriters should
use guidelines for knowledge. On the other hand, Rahayu, Syahrizal and Sadikin
(2019) conducted a speech act analysis of the script of a movie “frozen”
qualitatively. The study identified various types of speech acts, including 37
directives and 10 Expressives. The study concluded that understanding different
types of speech acts could enhance the interpretation of a movie script.
In a similar vein, Drew and Holt (1998)
studied figurative expressions and the management of topic transition in
conversation via qualitative approach. With the aid of data collected over 200
instances of speakers various conversation sequence, results indicated that
figurative expressions are not haphazardly used but strategically employed to
manage topic transitions. The study paved the understanding of conversational
dynamics. The findings also suggests the use of literary devices to influence
speakers’ interpersonal dynamics
3.0 Methodology
The paper used qualitative research design,
being a powerful approach for delving into the intricate nuances of literary
devices used within the Kannywood movie script, “Malam Zalimu”. This research
design allows for an in-depth exploration and understanding of these elements,
going beyond the surface to uncover their roles and impacts within the
narrative. Following the guidance of Creswell (2002) made an in-depth
exploration and understanding of the figures of speech used in “Malam Zalimu”
script. In fact, the script of the movie “Malam Zalimu”, which served as the
source for the data in the paper provides character dialogue in the movie,
where each character’s dialogue was meticulously studied to identify and
interpret the various figures of speech used.
For the analyses and interpretation of
results, the paper used hand analysis strategy and mind mapping. In line
with Braun and Clark (2006), the researchers scrutinized the script used as
data over and over again, renamed it, familiarized with it before subjecting it
for interpretation. The researcher utilized the two versions of the script
(i.e., Hausa & the English version). The researchers also transcribed the
play and underwent through member check rigorously to obtain authentic data and
results.
For trustworthiness of the data used for the
paper, the researchers visited the Kannywood movie industry and obtain the
writer’s permission. Similarly, the researchers also obtained the original
script from the writer directly. Equally, the first-hand access not only
guarantees the authenticity of the script of “Malam Zalimu”, but also ensures
the accuracy of the figures of speech identified and interpreted. The
researcher also sought the assistance of some expert colleagues for member
check and captured the exact concept of the movie. Therefore, expert review,
ascertained the quality of the interpretation.
4.0 Presentation of Result
4.1 Types of Figures of Speech in
the Script of “Malam Zalimu”
To achieve the objective of the paper, the
researchers identified a number of literary devices, serving as figures of
speech in the script of “Malam Zalimu”. Each of these devices not only enriches
the narrative but also infuses it with a profound depth and artistic allure,
making the work of art more resonate and captivating. The findings were Mood,
Flashback, Anaphora, Hyperbole and metaphor.
4.1.1 Mood
Mood, as a figure of speech, is the emotional
atmosphere that a piece of writing establishes. It is like the tone of a
conversation, but for a written work. It sets the reader’s emotional response
to the story. Consider it as the emotional landscape that surrounds the reader,
it is like the weather of the story. For example, a suspenseful mood might be
created through a dark, stormy setting, while a joyful mood could be created
through bright, sunny day. The choices made by the author in terms of setting,
theme, diction, and tone; all contribute to the mood. Consider a horror story,
where the writer might use chilling descriptions and eerie silence to create
mood of fear and unease, or a romantic novel, where warm, intimate scenes and
poetic language might create a mood of love and longing. The mood can also
shift throughout the story, mirroring the changing circumstances of the plot.
For example, a story might start with a joyful mood, descend into tragedy, and
then rise into hopeful resolution. Take mood as a symphony, each element,
setting, characters, and dialogue, are instrument playing their part. The
writer, like a conductor, brings them together in harmony to create a specific
emotional tone. For instance, in a mystery novel, the writer might use a gloomy
setting, cryptic dialogues, and secretive characters to create a mood of
suspense. On the other hand, a fantasy adventure might feature majestic
landscapes, heroic dialogues, and brave characters to create a mood of
excitement and wonder. In essence, the mood is the soul of the story, evoking
emotions and reactions from the reader.
Malam Zalimu’s script is a rich tapestry of
emotions, each intricately woven to create a vibrant picture of the narrative
and the script of “Malam Zalimu” is teeming with various moods, the researcher
identified a series of instances that illuminate how mood is utilized as a
figure of speech within the script of “Malam Zalimu”. For instance, in P.2,
line 2 of the script of “Malam Zalimu”, there is a significant shift in mood,
the writer uses descriptive language and specific word choices to create a mood,
as in excerpt, thus: “He looked at him in anger and responded to him” [Malam
Zailani], here, the mood is primarily conveyed through Malam Zailani’s angry
response. This anger, a palpable emotion, shapes the tone of the conversation,
making it more intense, it is not just about what he says, but how he says it.
His angry reply is a clear demonstration of the mood, influencing the reader’s
perception and emotional response to the dialogue. The use of mood as a figure
of speech effectively amplifies the emotional depth and realism of the
conversation. In the given excerpt, Malam Zailani’s anger is not merely an
emotion, but a powerful narrative tool. His heated response serves as a mirror,
reflecting the turbulent emotions roiling beneath the surface, thus setting an
intense mood. His anger, while shaping the tone of the conversation, also
provides valuable insight into his character. It reveals his inner turmoil, and
his frustrations. The character driven mood not only heightens the emotional
stakes but also deepens the understanding Malam Zailani as a character. The
writer, by choosing to express the mood through a character’s response,
achieves two things. Firstly, the writer makes the mood palpable and immediate,
allowing the reader to feel the intensity of the anger first-hand. Secondly,
the writer subtly reveals more about the character, making him more relatable
and human. Malam Zailani’s anger, while setting mood, also serves as a
catalyst, propelling the narrative forward. It creates conflict, tension, and
anticipation, key elements that keep readers hooked. The mood, thus, is not
just an atmospheric detail but a daring force in the narrative. Moreover, the
writer’s choice to convey mood through the character’s response is a strategic
one. It allows for a more organic and immersive way to establish mood. Instead
of telling the readers how to feel, the writer shows them through the
character’s reactions, making the emotional experience more authentic. The mood
in this instance, is a multifaceted narrative tool, intricately tied to
character development, plot progression, thematic resonance, and reader
engagement. The writer’s use of mood as a figure of speech is evident to the
narrative prowess and emotional acuity.
Furthermore, in P.4 line 13 of the script of
“Malam Zalimu”, a significant shift in mood was discerned, as in excerpt, thus:
“He looked at him in amazement” [Malam Zailani], the use of
‘in amazement’ is significant as it encapsulates the moment Malam Zailani
realizes his actions are known to Malam Tage, which is a revelation for him.
This figure of speech, therefore, serves dual purpose, it not only describes
Malam Zailani’s emotional state but also signals change in the dynamics of the
conversation. In this context, the mood as a figure of speech is not just a
descriptor, but a narrative device that propels the story forward, it provides
insight into the character’s emotions. In this instance, the mood is one of
surprise and revelation, it is a moment of dramatic irony, where the audience
knows something that a character does not. The writer uses Malam Zailani’s
amazement as a narrative device to highlight this irony, thereby adding a layer
of complexity to the story. The writer’s choice to express the mood through
Malam Zailani’s reaction is a clever on. It allows the mood to unfold
naturally, making the narrative more engaging and immersive. It also lends
authenticity to Malam Zailani’s character, making him more relatable to the
reader. The use of the phrase ‘in amazement’ is a master stroke, subtly
conveying a shift in the atmosphere. It is as if time slows, the world narrows
to this single moment of revelation. Malam Zailani is a man laid bare; his
secrets exposed under the harsh light of Malam Tage’s knowing gaze. This is not
just a description of an emotional state, but a turning point in the narrative.
It is a catalyst that sets off a chain of events, altering the trajectory of
the story. The mood becomes a mirror reflecting the inner turmoil of the characters
and tension simmering beneath the surface. The writer’s choice to reveal the
mood through Malam Zailani is significant, it allows us to see the world
through his eyes; to feel his shock and disbelief, and it is evident to the
writer’s skill, their ability to evoke such a powerful emotional response in
the reader. By doing so, the writer not only enriches the narrative but also
deepens the reader’s understanding of the characters, their vulnerabilities,
their fears, their hopes, and their dreams, not just as characters in a story,
but as living, breathing individuals, each with their own unique perspective
and experience.
However, in P.4 line 19 of the script of
“Malam Zalimu”, the researcher discovered a notable shift in mood, as in
excerpt, thus: “He laughed, he looked at him in disrespect” [Malam
Tage]. This phrase is a figure of speech that sets a mood, in this part of
script, the researcher observed two moods, conveyed through the figures of
speech. The first one is “He laughed…” which is a
simple phrase but it sets a mood of amusement or mockery. Laughter in this
context, is a figure of speech representing Malam Tage’s response to Malam
Zailani’s threats, it shows he finds the threats amusing rather than
intimidating. The second one is “He looked at him in disrespect”,
this phrase is an idiomatic expression that sets a mood of disrespect or
disdain. It is figure of speech that shows Malam Tage’s disregard for Malam
Zailani. Here, there is a juxtaposition of moods that paints a vivid picture of
the relationship between Malam Tage and Malam Zailani. The phrase “He
laughed…” is a simple yet effective way of conveying Malam Zailani’s
threats. It is a subtle way of undermining his authority, reducing his threats
to mere jests. The second phrase “He looked at him in
disrespect” goes a step further, revealing the extent of Malam
Tage’s disdain for Malam Zailani, it is a powerful idiom, one that speaks
volumes about their dynamic, it is more than just a look, it is a blatant
challenge, a rejection of Malam Zailani’s perceived superiority. The writer’s
decision to use Malam Tage as the vehicle for these moods is a strategic one,
it not only highlights the tension between the two characters but also gives
insight into their personalities. Malam Tage is portrayed as a defiant figure,
unafraid to stand up to Malam Zailani. On the other hand, Malam Zailani is
shown to be a figure of authority, albeit one whose threats are not taken
seriously. In the first phrase, one can almost hear the echo of Malam Tage’s
laughter, a sound that reverberates with defiance and mockery. It is more than
just a reaction, it is a statement, a declaration of his refusal to be
intimidated by Malam Zailani’s threats. The laughter, seemingly insignificant,
is a powerful tool in the writer’s arsenal, serving to highlight Malam Tage’s
boldness and audacity. The second phrase, is a visual representation of the growing
rift between the two characters, it is a look that speaks louder than words, a
look that embodies Malam Tage’s contempt for Malam Zailani. The writer’s choice
to describe this look in such detail serves to underscore the intensity of
their conflict, hinting at the storm brewing beneath the surface of their
interactions. By using Malam Tage to convey these moods, the writer is
effectively using him as a lens through which the readers can gain a deeper
understanding of the story’s underlying themes. It is through his laughter and
his disrespectful gaze that the readers get a glimpse into the power dynamics
at a play, the simmering tension that threatens to disrupt the status quo. In
the first phrase, there is a glimpse of Malam Tage’s spirit, his refusal to bow
down to Malam Zailani’s authority. His laugher, though seemingly dismissive, is
a subtle act of rebellion, evidence to his resilience in the face of adversity.
Similarly, the second phrase serves as a window into the depth of Malam Tage’s
contempt for Malam Zailani. It is a look that speaks volumes, a silent protest
against the perceived injustice of Malam Zailani’s rule. Through these figures
of speech, the writer has managed to infuse the narrative with a sense of
tension and conflict, setting the stage for the inevitable clash between Malam
Tage and Malam Zailani. It is a testament to their storytelling prowess, their
ability to create a world that is as engaging as it is immersive.
Moreover, in P.11, line 27 of the script of
“Malam Zalimu”, the researcher identified a significant shift in mood, as in
excerpt, thus: “He looked at him with surprise” [Mai
Gari], it is not just about the surprise Mai Gari feels, but also how this
surprise alters the mood of the conversation. The unexpectedness of Malam
Zailani’s decision to stay in the village permanently creates shift in the
atmosphere, from a casual conversation to a more serious discussion about the
future of the village mosque. Thus, the researcher discovered a mood of
surprise, conveyed through the figure of speech, adding depth to the
interaction between the two characters. The excerpt “He looked at
him with surprise” is privy to Mai Gari’s internal world, his
astonishment mirroring the reader’s own. The writer, through this figure of
speech, masterfully alters the mood of the scene. This unexpected decision by
Malam Zailani to stay in the village permanently acts like a stone thrown into
a still pond, sending ripples of tension and uncertainty through the narrative.
By choosing Mai Gari to express this surprise, the writer allows the readers to
experience the shock and apprehension through his eyes, this choice not only
deepens the reader’s connection with Mai Gari but also heightens the emotional
stakes of the story. The surprise in Mai Gari’s reaction is a mirror reflecting
the reader’s feelings, they are drawn into the narrative, experiencing the same
shock, the same curiosity about what this change means for the future of the village
and the mosque. Moreover, the surprise serves as a narrative hook, keeping the
readers engrossed in the story, making them eager to uncover the implications
of Malam Zailani’s decision, to see how it will affect the dynamics of the
village and the mosque. The surprise also adds a layer of complexity to Mai
Gari’s character, his reaction reveals his emotional depth, his capacity for
empathy and understanding. It makes him more relatable and engaging character,
one that the reader ‘scan connect with on a deeper level.
Consequently, in P.31, line 2 of the script
of “Malam Zalimu” the researcher observed a shift in mood, as in excerpt,
thus: “With a show of happiness and expression of joy and
satisfaction” [Hajiya Barira], in this context, the phrase “With a
show of happiness and expression of joy and satisfaction” effectively
communicates the mood of joy and satisfaction. It portrays Hajiya Barira’s
positive emotional state when her husband, Alhaji Sadiku, proposes to increase
their charitable contributions during Ramadan. This use of this figure of
speech adds depth to the narrative, allowing for a better understanding of the
character’s emotions and reactions. The writer’s choice to convey the mood
through Hajiya Barira is an effective one, it allows the readers to experience
the joy and satisfaction first-hand, to feel the warmth of her happiness, the
depth of her satisfaction. Moreover, the use of mood in this context serves to
highlight the significance of Alhaji Sadiku’s proposal, the joy and
satisfaction it elicits underscores the importance of charitable contributions
during Ramadan, making it a pivotal moment in the narrative. The mood also adds
a layer of complexity to Hajiya Barira’s character, her reaction reveals her
emotional depth, her capacity for joy and satisfaction, and it makes her more
relatable and engaging character. Imagine, for a moment, being in Hajiya
Barira’s shoes, feel the joy and satisfaction coursing through her, the
happiness bubbling within her like a sparkling fountain. This is the power of the
mood, it transforms the act of reading into an immersive experience, a journey
of the senses that transports the readers into the heart of the narrative. As
the readers traverse this narrative landscape, they become more than mere
observers, they become a part of the story, living and breathing the same air
as the characters, feeling their joys and sorrows, their triumphs and defeats,
they become emotionally invested in their lives and in their stories.
The script of “Malam Zalimu” brilliantly uses
mood as a figure of speech, the way mood is woven into the dialogue makes the
characters feel real and the situations, tangible. It is more than just words
on a page; it is an emotional journey that the script of “Malam Zalimu” takes
the readers on. The use of mood in the script of “Malam Zalimu” has been
instrumental in enhancing the reader’s understanding. It sets the emotional
tone, providing a window into the character’s experiences.
4.1.2 Flashback
A flashback is a clever narrative device used
in literature and movie to transport the audience back in time. It serves to
provide insight into a character’s motivations, unravel plot mysteries, or
simply to enrich the story’s depth by revealing key past events. It’s a journey
backwards in the narrative timeline, often adding a layer of complexity and
intrigue to the story. Take J.K Rowling’s “Harry Potter” series, for example,
Harry’s flashbacks to his present’s death are pivotal in understanding his character
and the overall storyline. Stephen King also frequently uses flashbacks to
provide background and add depth to his characters. In the script of “Malam
Zalimu”, the use of flashback is sparing, appearing only a handful of times.
Specifically, the researcher noted its presence just five times throughout the
narrative. These instances are as follows:
i.
The first flashback from the movie: at the place of the prayer for the
deceased, that Malam Tage led, Malam Zalimu arrived on a horse.
ii.
The second flashback from the movie: at the place where Malam Zalimu met Malam
Dare, who had already led the prayer, Malam transformed him into a goat.
iii.
The third flashback from the movie: at the place where Malam Zalimu came to
Malam Nafi’us house on a horse, they talked and he left… it will also show
where Malam Zalimu entered a room to pick up something and turned into a monkey.
iv.
The fourth flashback from the movie: at the place where the monkey was played
with and it turned back into a human.
v.
The fifth flashback from the movie: at the place where the town’s leader
removed Malam Zalimu and appointed Malam Nafi’u.
The use of flashback in the script of “Malam
Zalimu” is a masterful technique to provide characters with a more profound
understanding of the narrative. Each flashback serves as a keyhole, peering
into the past and revealing the formative moments that have shaped characters
and the plot.
The first flashback in the script of “Malam
Zalimu” begins in P.16 line 32, here, the characters are drawn into a flashback
where Malam Zalimu majestically arrives on horseback at a prayer led by Malam
Tage. This is not just a memory, it is a window into Zalimu’s grandeur, setting
the tone for his character. Next, in P.17, line 8, the writer takes the
characters back in time again, Zalimu morphs into a monkey, and it is a clever
flashback, giving us a glimpse of Zalimu’s deceptive abilities. The third flashback
is in P.17, line 22, here, the monkey reverts back to being human. This
flashback is being symbolic of transformation and change.
In the script of “Malam Zalimu”, flashback
serves as a narrative device that peels back the layers of time, allowing the
readers to witness an event that has happened to present circumstances. It
gives the reader a deeper understanding of the characters and their
motivations. The writer’s choice to use flashback could be to highlight the
contrast between the past and the present, or to reveal a hidden truth or
memory that has significant impact on the story. It is a tool that adds depth
and complexity to the narrative, enriching the reader’s understanding of the
plot. The writer’s choice to use flashback could signify the importance of the
events in the storyline, it is a way to emphasize its impact on the present
scenario. It is like peeling an onion, each layer revealing something new,
something significant about the character or situation. Moreover, flashbacks
can also serve to create suspense or anticipation in the narrative, they can
set up a question or a mystery that keeps the readers hooked, wanting to know
more. The flashback could also serve to foreshadow future events in the future
events in the narrative, it is like a puzzle, where each piece, each flashback,
brings the reader’s closer to the final picture.
Flashback is akin to a time machine, whisking
back to past events in a character’s life. It is a narrative technique that
allows the writer to provide background details or offer insight into a
character’s motivations. In the script of “Malam Zalimu”, flashback is used as
a window into the characters past, revealing key moments that shaped them.
4.1.3 Anaphora
An anaphora is a rhetorical device that
features repetition of a word or phrase at the beginning of successive clauses
or sentences. In writing, anaphora is the repetition of a specific phrase, the
writer is able to emphasize a particular phrase or idea, thereby enhancing its
impact on the character. In the script writing of “Malam Zalimu”, anaphora is
sparingly used, surfacing only in two excerpts, they are as follows:
i. You! You! You! [Malam Zailani]
ii. Ladi! Ladi! Ladiyo! Ladingo! [Malam
Zailani]
In excerpt (i) above, in P.3 line 30, tension
mounts as Malam Zailani warns Malam Tage. The writer employs anaphora,
repeating ‘you, you, you’ [Malam Zailani] to underscore the gravity of Malam
Zailani’s warning. The repetition serves not only to emphasize his words but
also to reveal his character’s determination and potential for retaliation. The
anaphora, thus, adds depth and complexity to the dialogue, creating a rhythm
that builds suspense and highlights the conflict between the two characters.
The writer’s use of the figure of speech is a powerful tool for conveying
emotion and tension in the narrative. This excerpt is more than repetition of
words, a it is refrain, a chorus that underscores the gravity of Malam
Zailani’s warning. Each “You” is a hammer blow, each one driving point home,
each one revealing a facet of his character, his determination, his potential
for retaliation. The writer’s use of anaphora is akin to a craftsman chiselling
a block of marble, each one shaping the character of Malam Zailani, each one
adding depth and complexity to his persona. The repetition serves not just to
emphasize his words, but also to sculpt his character, revealing his inner
strength, and his resolve. Moreover, the anaphora also serves to heighten the
tension in the narrative, it is like a ticking clock, and each “You” brings the
readers closer to the moment of reckoning, each “You” ratcheting up the
suspense, each “You” highlighting the conflict between the two characters.
Consider the “You! You! You! As a battle cry, a call to arms, each “You” is a
declaration of intent, a statement of defiance. It is Malam Zailani standing
his ground, unwilling to backdown, ready to fight for what he believes in. In this
dance of words, the audience is invited to step into Malam Zailani’s shoes, to
feel his determination, to experience his resolve. The anaphora serves as a
bridge, a conduit that connects the audience to the character, allowing them to
share his emotions, his struggles, his triumphs. And as the dance continues,
the anaphora takes on a life of its own, it becomes a character in its own
right, a silent protagonist that drives the narrative. Each “You” is a
heartbeat, a pulse that keeps the story alive, a rhythm that propels the
narrative forward. In the grand scheme of the narrative, the anaphora is not
just a figure of speech, it is a catalyst, a spark that sets the story in
motion, and it is the wind that fills the sails of the narrative, the fuel that
powers the engine of the story.
However, in excerpt (ii), the writer employs
the figure of speech of anaphora, this is evident in the repeated exclamation,
in P.13 line 28 of the script of “Malam Zalimu” thus: ‘Ladi! Ladi! Ladiyo!
Ladingo!’ [Malam Zailani]. The writer used this figure of speech to highlight
the strength of Malam Zailani’s love and his deep affection for Ladi, it also
adds a rhythmic, almost song-like quality to his words, making them more
memorable and impactful. The repetition of Ladi serves as an anaphora,
emphasizing the depth of Malam Zailani’s love for Ladi. Each repetition of
“Ladi” is not merely a name, it is evident to the profound affection Malam
Zailani harbours for her. The anaphora serves as a mirror, reflecting the depth
of Malam Zailani’s love, each “Ladi” is a heartbeat, a pulse that echoes with
his unwavering devotion, it is a song, a melody that sings for his love for
Ladi. The writer employs anaphora to add a rhythmic quality to Malam Zailani’s
declarations, transforming his words into a lyrical ballad. The repetition
makes his words more memorable, imprinting them into the minds of the readers.
The anaphora also serves to highlight Malam Zailani’s character, his repeated
exclamations of “Ladi” reveal his single-minded focus, his unyielding
dedication, his relentless pursuit of his love. It showcases his strength, his
resilience, his unwavering resolve. The anaphora also serves to create a bond
between the reader and Malam Zailani, as the readers don’t just read about his
love, they experience his emotions, his longing, his adoration, they are drawn
into his world, captivated by his love story, they are drawn into his world,
captivated by his love story, entranced by his unwavering devotion. Moreover,
the anaphora is a powerful tool in the hands of the writer, it is not just a
stylistic device, it is a narrative technique, it adds depth to the character,
it adds rhythm to the prose, it adds emotion to the story. It is the thread
that weaves the narrative, the brushstroke that paints the picture, the note that
composes the symphony.
Anaphora as a figure of speech, is an
incredibly powerful tool in storytelling. It is the deliberate repetition of a
word or phrase at the beginning of successive clauses, serving to create
emphasis and rhythm. In the context of a script, it can enhance the emotional
intensity of a scene, build suspense, or highlight a character’s mental state.
Its impact is profound, as it not only elevates the language but also deeply
engages the audience, pulling them into the heart of the narrative.
4.1.4 Hyperbole
Hyperbole is a figure of speech that involves
an exaggeration of ideas for the sake of emphasis. It is a way of making a
point by overstating or magnifying the truth, often creating a dramatic,
humorous, or ironic effect. A hyperbole is a literary device that is as old as
storytelling itself, hyperbole is an exaggerated statement or claim that is not
meant to be taken literally. It is used to emphasize a point or inject humour
into a piece of writing. For instance, “I have told you a million times” that
is a hyperbole, of course I have not literally told you something a million
times, but the hyperbole emphasizes that I have repeated myself often. In the
realm of literature, hyperboles can add colour and depth, allowing writers to
emphasize certain points and make their narratives more engaging. It is like a
spice in the stew of storytelling, adding flavour and zest where needed.
Hyperboles can be found in all sort of writing, from poetry to prose, and even
in everyday speech. They are designed to catch the reader’s attention and make
a lasting impression. For example, in J.K Rowling’s “Harry Potter” series, Ron
Weasley exclaims, “He must have been the only person in the world who had not
read the stories about what had happened that night in Godric’s Hollow”. Here,
the hyperbole emphasizes the widespread fame of Harry’s story. In
scriptwriting, like in the script of “Malam Zalimu”, hyperboles could be used
to highlight a character’s emotions or reactions, or to add a touch of drama or
humour. In the script of “Malam Zalimu” hyperbole does not appear frequently.
However, there is a notable instance in P.5, line 26, thus: “He is
deep in thought, even the town leader noticed it”. This is an
overstatement used to emphasize the depth of Malam Iro’s contemplation. By
stating that even the town leader noticed Malam Iro’s intense thoughtfulness,
the writer is exaggerating to highlight the character’s emotional state and the
gravity of the situation. The hyperbolic statement serves to create a vivid
image in the reader’s mind, contributing to the overall dramatic effect of the
narrative. The first thing to notice is that this hyperbole does not just
amplify the depth of Malam Iro’s contemplation, it elevates it to a level that
it becomes a spectacle for the town leader, a person of high stature. This
suggests that Malam Iro’s thoughtfulness is not merely a personal experience,
but an event that impacts the social fabric of the town. Secondly, the use of
hyperbole here serves a dual purpose. On one hand, it also subtly highlights
the town leader’s perceptiveness, suggesting that he is not just s figurehead,
but a leader in tune with his people’s emotions. Furthermore, the choice of
Malam Iro as the subject of this hyperbole is significant; by attributing such
profound contemplation to him, the writer not only deepens his character but
also sets him apart from others. It suggests that Malam Iro is a man of depth,
a man whose thoughts are so significant that they command the attention of the
town leader. The choice of hyperbole in this instance is not merely a random
stylistic decision, it is a calculated move to make the narrative more engaging
and to add depth to the characters. By stating that even the town leader
noticed Malam Iro’s contemplative state, the writer instantly creates a sense
of intrigue and curiosity. The reader is compelled to wonder, what could
possibly be so serious that it would catch the attention of the town leader?
Moreover, the use of hyperbole here serves to highlight the contrast between
Malam Iro and the rest of the town. It subtly suggests that while others might
be caught up in the mundane affairs of daily life, Malam Iro is a man of depth
and contemplation. This sets him apart ad adds an element of mystery and
intrigue to his character. Furthermore, by using hyperbole to describe Malam
Iro’s thoughtfulness, the writer effectively sets the tone for the narrative.
It suggests a story that is not just external world of its characters, it is a
story where thoughts and emotions are as significant as actions. The writer’s
use of hyperbole serves to create a vivid, engaging narrative that draws the
reader in, it is evident to the power of figures of speech in storytelling. In
addition to engaging the reader and creating a sense of anticipation, the
hyperbole also serves another important function, it helps to establish the
setting of the story. By mentioning the town leader, the writer subtly provides
a glimpse into the social structure of the town. The hyperbole also adds a
layer of realism to the story, it shows that the characters are not just
figments of the writer’s imagination but have thoughts and emotions that are as
complex and nuanced as those of real people, this makes the story more
relatable and engaging for the reader.
Hyperbole is a literary device that breathes
life into words. It is an exaggeration but it is also a paintbrush that colours
the canvas of imagination. It amplifies the ordinary, injects humour, and
underscores emotions, making the narrative more engaging and memorable.
Although, the script of “Malam Zalimu” may not be heavily laden with
hyperboles, their potential inclusion could add a layer of dramatic flair or
comedic relief, enhancing the audience’s connection with the characters and
their journey. The judicious use of hyperbole can indeed transform a simple
tale into a remarkable saga that resonates with its audience long after the
final line is delivered.
4.1.5 Metaphor
At its core, a metaphor is a figure of speech
that directly compares two different things, it is a powerful tool used in
language to express a concept or idea in a more vivid and imaginative way.
Unlike simile, which uses “like” or “as” to make a comparison, a metaphor makes
this comparison directly. For instance, “life is a rollercoaster” rather than
“life is like a rollercoaster”. Metaphors are often used in literature, from
poetry to prose, to create a certain atmosphere or to convey a particular meaning
that might not be immediately apparent from the literal words alone. They can
be used to add colour and depth to a description, making it more engaging and
interesting. By comparing one thing to another, metaphors can help readers or
listeners to visualize something more clearly or understand something from a
new perspective. Metaphors also play a key role in everyday language, people
often use them without even realizing it, phrases like “time is money” or “all
the world’s a stage” re examples of metaphors people use in daily
conversations. Moreover, metaphors can be used to convey complex or abstract
ideas in a more digestible way; by comparing these ideas to something more
concrete or familiar, metaphors can make them easier to understand. There are
also different types of metaphors, for example, extended metaphors continue the
comparison throughout a piece of writing, while mixed metaphors combine two or
more unrelated metaphors together. In many ways, metaphors are like the spices
in a dish. They add flavour and interest, making the language more delicious
and satisfying to consume. However, like any tool, metaphors should be used
with care, a well-placed metaphor can illuminate an idea and make it shine, but
a poorly chosen one can obscure meaning and confuse the reader.
In the script of “Malam Zalimu”, metaphoric
language is sparingly used. In fact, the researcher only identified a single
instance of a metaphor throughout the script. In P.41, line 7 of the script of
“Malam Zalimu”, the researcher identified an excerpt that used a metaphor,
thus: “Serious situation, the corpse holds the bather”.
Here, the writer employs a compelling metaphor to illustrate a scenario of
overwhelming difficulty and helplessness. The image of a bather being held by a
corpse is stark and unsettling, evoking a sense of dread and fear that
effectively communicates the gravity of the situation. Using Malam Nafi’u as
the metaphor’s embodiment allows the reader to experience these intense
emotions and situations alongside him, it is a powerful technique not only
enhances the depth of Mallam Nafi’u’s character but also enriches the reader’s
engagement with the narrative. The metaphor also serves to create a sense of
intrigue and suspense, as readers are left wondering how Malam Nafi’u will
navigate these challenges, will he overcome them? Or will they drag him under?
This tension keeps the readers hooked, turning page after page.
Metaphor is a powerful literary device that
allows readers to understand and visualize concepts by drawing comparisons with
something familiar. It breathes life into the mundane, illuminates the
abstract, and paints vivid pictures in the minds of the readers. In the script
of “Malam Zalimu” the use of metaphor is minimal, but its presence even if
singular, has a profound impact, underscoring the power of this device. The
metaphor serves as a beacon, guiding the audience through the narrative,
enriching their experience, and leaving an indelible imprint on their
understanding of the story.
4.2 The Impact of Figures of
Speech in the Script of “Malam Zalimu”
To accomplish objective 2 of the paper, the
researchers delve into the realm of figures of speech within the script of
“Malam Zalimu”. The paper meticulously dissected the dialogue identified and
analysed. The goal was to understand their impacts, and how the metaphors,
hyperboles, and other figures of speech enhanced the narrative, added depth to
characters, and engaged the audience. This exploration into the artful language
of “Malam Zalimu” was crucial in fulfilling objective 2, shedding lights on the
powerful role of figures of speech used in the script.
The mood sets the emotional atmosphere of the
script, it influences how the audience feels while reading, guiding their
emotional journey through the narrative. While flashbacks provide a rich
backstory, adding depth to characters and context to their actions. They are
like windows into a character’s past, making them more relatable and their
motivations clearer. The use of anaphora, repeating a word or phrase at the
beginning of successive clauses, creates a rhythm and emphasizes certain
points, making the script more engaging and impactful. Hyperboles with their
exaggerated claims, add a layer of dramatic intensity or humour, they amplify
emotions and situations, making them more memorable. Metaphors in “Malam
Zalimu” act as a bridge, connecting the audience with complex ideas or
emotions, they add depth and colour to the narrative, making abstract concepts
tangible and relatable.
Mood in “Malam Zalimu”, dictates the
emotional climate of the narrative. It is like a lens through which the
audience views the events of the script, influencing their emotional response.
The flashbacks are like puzzle pieces, filling in the gaps of a character’s
history. They enhance the audience’s understanding of the character, making
their actions and motivations more comparable. Anaphora serves as a powerful
rhetorical device, the repetition underscores important themes or ideas, making
them more resonant and memorable. Hyperboles, while exaggerated, encapsulate
the intensity of emotions or situations. They have the power to make ordinary
descriptions extraordinary, capturing the audience’s attention. Metaphors not
only enrich the language but also create a vivid mental image. They allow the
audience to experience the story in a unique, more immersive way.
The mood is the visible thread that ties the
audience to the narrative, it subtly influences how the audience perceives and
reacts to the story, adding an emotional layer to the reading experience.
Flashbacks, like time machines, transport the audience back to a character’s
past, they provide crucial context, helping the audience understand why a
character thinks or behaves in a certain way. Anaphora in the script of “Malam
Zalimu” acts as a drumbeat, underscoring key points and adding a rhythmic
quality to the narrative. This repetition can make certain ideas stand out,
enhancing their impact. Hyperboles, in their grandiosity, adds an element of
surprise or humour, they can exaggerate emotions or situations to such an
extent that it becomes source of amusement or dramatic effect. Metaphors in the
script of “Malam Zalimu” serves as a catalyst for imagination, sparking new
connections and insights, they allow the audience to see things from fresh
perspectives, enriching their understanding of the narrative.
In the script of “Malam Zalimu” movie, mood
is appeared as background music of a movie, it sets the tone and influences
audience’s emotional response to the narrative. However, flashbacks are like
windows to the past, revealing key events or experiences that have shaped a
character’s present, they add depth to the characters, making them more
relatable and real to the audience. Then again, anaphora is like the echo in a
canyon, reinforcing key ideas through repetition, this can make the narrative
more persuasive and impactful. Metaphors connect the familiar with the
unfamiliar, they allow the audience to understand complex ideas or emotions
using references that they can easily relate to.
4.3 Summary of
Findings
The in-depth autopsy of the script of Malam
Zalimu Kannywood movie has uncovered a fascinating use of various literary
devices that contribute to the narrative’s depth and richness. The mood set
throughout the script effectively sets the emotional atmosphere, impacting the
reader’s engagement and interpretation of the unfolding events. Flashbacks,
while used sparingly, serve as a powerful narrative tool, providing the
audience with essential background information and enhancing the story’s
overall emotional impact. Anaphora, the repetition of certain words or phrase
at the beginning of successive lines or sentences, was another notable device
in the script, its strategic use added a rhythmic quality to the dialogue,
creating emphasis and enhancing the emotional resonance of the narrative. The
script also made use of hyperbole, an exaggerated statement or claim not meant
to be taken literally, which added an element of drama and emphasis to the
narrative. The single identified metaphor, added a layer of symbolic meaning,
enriching the narrative depth.
This paper has shed light on an interesting
aspect of scriptwriting in Kannywood, revealing that even a sparse use of these
literary devices can significantly influence the dynamics of the narrative.
However, it also suggests that there is a vast potential for scriptwriters to
further incorporate these elements into their scripts, creating more nuanced
and immersive storytelling experiences. The careful management of mood and
flashback, the strategic use of anaphora and hyperbole, and the potential enriching
effect of metaphor can all serve to enhance narrative tension and reader
engagement. This paper has made a significant contribution to understanding the
art of scriptwriting in Kannywood and has opened up new avenues for further
exploration.
4.4 Discussion of Findings
In the course and the in-depth analysis of
“Malam Zalimu”, the researcher identified a diverse array of literary devices
at play. The mood, established with finesse, guided the audience through the
narrative, much like a compass guiding a traveller. Flashbacks served as
windows, offering glimpses into the past that added depth to the characters and
the storyline. Anaphora, the repetition of a certain word or phrase at the
beginning of successive lines or sentences, was employed to enhance the
rhythmic quality of the dialogue, making it more memorable. Instances of
hyperbole added a dramatic flair, amplifying emotions, and events beyond their
literal bounds. However, metaphors were a rare gem in the script, with only one
identified throughout the narrative, this scarcity suggests a potential area of
exploration and development for Kannywood scriptwriters.
The paper findings correspond to Farzaneh and
Sayyah’s (2012). In both studies, it was found that literary devices have
potential to enhance narrative and audience engagement in Kannywood
scriptwriting. Farzaneh and Sayyah’s (2012) aimed to facilitate movie
scriptwriting as a tool for knowledge transfer in organizations, found that
their guidelines were well received by experts and managers. This positive
reception mirrors the potential of the literary devices identified in “Malam
Zalimu” to enhance the narrative and audience engagement. In light of these
findings, the researchers suggests that Kannywood scriptwriters consider a more
extensive use of the identified literary devices. This could serve as a
guideline, much like the one proposed by Farzaneh and Sayyah, to enrich their
scripts and effectively convey their narratives.
In a manner, akin to Ashley’s (2012) ground
breaking study on the use of literary devices in graphic novels, this study
delves into the scriptwriting of the Kannywood movie “Malam Zalimu”. Much like
Ashley’s findings, this study indicates that despite the medium, be it graphic
novels or scripts, literary devices significantly enrich the narrative. While
this study identified a scarcity of metaphors in “Malam Zalimu”, it unveiled a
treasure trove of other literary devices that added depth and meaning to the narrative.
This aligns with Ashley’s findings, where students were able to engage with the
literary devices present in the graphic novels, suggesting a valuable tool for
promoting literary and critical thinking. The implications of this study, much
like Ashley’s, extend beyond the realm of academia, the findings suggest that
the use of literary devices in scriptwriting, although overlooked, can
significantly contribute to the success of a movie, as they enrich the
narrative and engage the audience on a deeper level. Furthermore, the study
underlines the importance of diversifying the teaching of literary devices,
just as Ashley’s research suggested that graphic novels could be a valuable
tool in teaching literary devices, this study on “Malam Zalimu” highlights the
potential of movie scripts in the same context. The power of literary devices,
as demonstrated in both Ashley’s research and this study on “Malam Zalimu”,
suggests that scriptwriters could benefit from a deeper understanding and
application of these tools; by weaving more literary devices into their
narratives, they could potentially create more engaging and thought-provoking
content. These findings imply that literary devices can enhance storytelling
and audience engagement across different mediums, thereby reaffirming the power
of the written world.
Drawing parallels with Rahayu, Syahrizal and
Sadikin’s (2019) research on “Frozen”, this paper also employs a qualitative
design, their research which focused on the analysis of different types of
speech acts in the movie script, found 294 instances of speech acts, including
37 directives and 10 Expressives, each act was found to convey meaning, much
like the literary devices identified in “Malam Zalimu”. In “Malam Zalimu”, the
use of mood, flashback, anaphora, and hyperbole, although not as abundant as
one might expect, still played a significant role in shaping the narrative. The
scarcity of metaphors, however, opens up an avenue for Kannywood scriptwriters
to experiment and innovate. Drawing upon these insights, it is evident that a
more extensive use of literary devices can enhance the richness and depth of
Kannywood scripts. Thus, future scriptwriters might find it beneficial to
incorporate a wider range of literary devices into their work, thereby weaving
a more intricate and engaging narrative tapestry for their audience.
The paper findings, notably the sparse use of
metaphors, aligns interestingly with Drew and Holt’s (1998) research on
figurative expressions in conversations. In both instances, the choice and
usage of these expressive elements, be it metaphors on scriptwriting or
figurative expressions in conversation, seem to have a strategic impact on the
narrative or conversational dynamics. However, where this study identified a
potential for greater use of figures of speech to enrich Kannywood scripts,
Drew and Holt’s study suggests a layer of complexity when figurative
expressions fail to achieve the intended closure, leading to conflicts.
Moreover, the paper, has unveiled a
fascinating tapestry of literary devices, including mood, flashback, anaphora,
hyperbole, and metaphor. These elements, albeit used sparingly, have added
depth and richness to the narrative, enhancing the reader’s engagement.
However, there is potential for scriptwriters to weave these elements more
intricately into their scripts, thereby creating a more nuanced and immersive
storytelling experience. The use of more complex figures of speech could add
layers of meaning, while the careful management of mood and flashback can
enhance narrative tension. This paper has opened door for Kannywood
scriptwriters to explore these literary devices further, enhancing the art of
storytelling in this vibrant movie industry.
4.5 Conclusion
In the twilight of this literary journey, the
researchers stand at the precipice of understanding this quest, titled The
Autopsy of Literary Devices used in the script of Malam Zalimu Kannywood
Movie set out to illuminate the unexplored path of figures of
speech often used in Kannywood scriptwriting. As a light in the darkness, the
researchers shone a light on the aesthetic and narrative appeal of the presence
of moods, flashbacks, anaphora, hyperbole, and metaphor.
The researchers, just as most literary
explorers, delved into the intricate nuances of these devices, guided by the
map of a qualitative research design, the journey was not without its
discoveries. The researchers identified sparse use of literary tools which
could significantly influence the narrative’s dynamics, much like a single
ripple can stir an entire pond. However, the journey also revealed the vast,
untapped potential in Kannywood scriptwriting. The landscape is ripe for the
strategic use of these devices, promising richer, more immersive storytelling
experiences, the careful management of mood and flashback, the potential to
enhance narrative and reader engagement.
4.6 Recommendations
The paper, having delved into the tapestry of
qualitative approach, has unearthed valuable insights. However, to further
enhance the understanding, future studies might consider adopting a
quantitative or mixed methods approaches. This shift in methodology could
provide a different perspective, allowing for a more comprehensive exploration
of the subject matter.
Furthermore, while the paper employed content
analysis, illuminating the intricate patterns and themes within the data,
future inquiries might benefit from utilizing alternative analytical methods.
These could include discourse analysis, narrative analysis, or even grounded
theory, each offering a unique lens through which to view the data.
References
Alkali, M. (2015). Kannywood: An Exploration
of the Hausa film Industry Journey of African cinema, 7(2), 100-115.
Allan, M. (2017). The anatomy of a shooting
script. A detailed analysis. Journal of film studies, 8(4), 150-1165
Allan, K. (2010). Theatre and film industry:
A comparative study. Journal of performing arts, 22(3), 300-315.
Braun, V.
Clarke, V. (2006). Using thematic analysis in Psychology.
Qualitative Research in Psychology, 3 (2). Pp. 77-101. ISSN 1478-0887.
University of the West of England.
Creswell, J. W. (2002). Educational
research: Planning, conducting, and evaluating quantitative. Prentice Hall.
Clark, J. (2022). The power of the standalone
script. A comprehensive study. Journal of scriptwriting studies,
13(1), 10-25
Collins, P. (2008). The art of screenplay: a
detailed study. Journal of screenwriting studies, 4(1), 50-65
Dallacqua, A.K. (2012). Exploring literary
devices in graphic novels. Language Arts, 89(6), 365-378
Drew, P., & Holt, E. (1998), Figures of
speech: Figurative expressions and the management of topic transition in
conversation. University of Huddersfield Repository.
Dwan, L. (2020). The journey of the adapted
script: a narrative exploration. Journal of scriptwriting studies,
9(30, 120-135
Farzaneh, A.B. &Sayyah, N. (2012).
Introducing a set of guidelines for facilitating movie-script writing, as a
tool for transferring knowledge inside organizations.
Gert, H. (2011). The art of the original
script: A critical analysis. Journal of scriptwriting studies,
7(2), 90-105
Glatch, S. (2023). Writers.com. Retrieved
January 26, 2023, from https://www.writers.com
Greek, & Kearny. (2023). What is research
methodology. Gradcoach. Retriveved from https://gradcoach.com
Hamilton, R. (2015). The craft of spec
script: an inside look. Journal of scriptwriting studies, 6(3),
200-215
Jenny, M. (2011). The art of script
writing. Journal of cinematic studies, 19(2), 150-165
Jhonson, K. (2005). Storyboard: a visual
Narrative. Journal of film studies, 2, (1), 30-45
Karma, B. (2010). Literary Elements: A
comprehensive study. Journal of literary studies, 14(1), 45-60
Lakunle, J. (2018). The importance of
literary devices in literature. Journal of literary studies, 16
(2), 150-165
Lucas. R. (2008). Literary techniques: a
detailed examination. Journal of literary analysis, 12(4), 200-215
Muniz,H. (2020). The 31 literary devices you
must know. Prep Scholar. Retrieved January 25, 202, from https://www.prepscholar.com
Rahayu, A. S., Syahrizal, T., & Sadikin,
I.S. (2019, September5). Speech act analysis of “Frozen” the movie script.
Sadiku, M. (2013). Definition of
scriptwriting: a comprehensive study. Journal of screenwriting studies,
5(1), 10-25
Umar, S. (2013). Cinematic voices: A study of
Kannywood Film Industry. Research Gate.
Umar, S. (2019). Types of Kannywood: A genre
analysis. Journal of African cinema studies, 11(3), 220-235
Markhill, V. (2011). Literary devices.
Scribd. Retrieved July 12, 20011, from hhttps://www.crbd.com
0 Comments