Charaterisation, like in many stories that concern the people, is too loose and vague. There is really no central hero as the characters rise and fall due to the nature of the story. The characterization of the story is lost in the many preambles and side attractions of the intrigue of the narrative. Tropes on their part are signaled by the trademark strange sound effect for advertising purposes. Notable also as a trope is the montage gymick of how the diegetic manner of telling the story of the Battle of Musanga by the old man transforms itself into a mimetic form of the story being concrely acted out. The sound system in Nollywood characteristically drones on and on. In this particular film, the same music from start to finish as background music rather than as precise and deliberate compliment to the story that the pictures are telling.
What ends the story of the battle of Musanga is that one man was asked to take the …show more content…
This sad story is embedded in the greater story of ancient Africa amongst the Mossi when the sense of solidarity bonded communities together. The panoramic picture of the plot is a complex mix of a tender story of friendship between Wend Kuuni, the lad, and Poignèré a small girl who helped him face the story of his past on one hand. It is also the story of Africa in revolt against age-old traditions.
The plot is structured in three parts: A prelude (1-16), a middle segment (17-274) and a third or concluding part in which all the questions raised in the first two segments are answered (375-326). In the prelude, Koudbilla, a widow is weeping inconsolably the loss of her husband and the difficulties that she is facing to raise her son. She is still convinced that her husband is alive and therefore refuses to give in to his dad’s suggestion to take another
What ends the story of the battle of Musanga is that one man was asked to take the …show more content…
This sad story is embedded in the greater story of ancient Africa amongst the Mossi when the sense of solidarity bonded communities together. The panoramic picture of the plot is a complex mix of a tender story of friendship between Wend Kuuni, the lad, and Poignèré a small girl who helped him face the story of his past on one hand. It is also the story of Africa in revolt against age-old traditions.
The plot is structured in three parts: A prelude (1-16), a middle segment (17-274) and a third or concluding part in which all the questions raised in the first two segments are answered (375-326). In the prelude, Koudbilla, a widow is weeping inconsolably the loss of her husband and the difficulties that she is facing to raise her son. She is still convinced that her husband is alive and therefore refuses to give in to his dad’s suggestion to take another