Conditioning audience patronage using subject matters in Nollywood films: the example of 30 days in Atlanta
Films are subject-based and when producers set out to communicate their viewpoints, some do it flamboyantly while others take the subtle path. Unlike live theatre before it, the possibility of a virile spiral regarding the themes treated in movies can be as much repugnant as they can be fascinating. In this case, the audience are wont to receive without bias some nuances expressed in motion picture for several reasons. Notably, religious orientation, gender bias, cultural and racial views, intellectual and philosophical stand, genres as well as mode of reception condition the audience to relate with certain artworks. Without the audience, actors and show promoters would have birth a production meant only for the empty theatre. It is common knowledge that concerns with taste and culture, socio-economic and political considerations affect conception and execution of all audio-visual materials intended for audience consumption. Whether a producer knows it or not, his or her theatrical productions can meet stiff competition from other shows, meaning that the audience is a free for all market. 30 Days in Atlanta, with a favourable record of audience reception and patronage, stands tall as a reference point for manipulating social commentary in its contextual projection of notable issues. Adopting the historical-analytic review approach, the study evaluates the themes inherent in the film as a prerequisite for audience patronage.
Keywords: Themes, Nollywood, 30 Days in Atlanta, Audience patronage, Funding