







































AMA: Journal of Theatre and Cultural Studies 

96 

 

A CRITICAL EXPLORATION OF THE NARRATIVE 

STRUCTURE AND THE HUMANE QUALITIES IN  

GOLD STATUE 

 
1Ola-Koyi, S. Joseph Bankola and 2Obumneme, Francis Anasi 

1Department of Theatre Arts, University of Ibadan, Ibadan 

sundayolakoyi05@gmail.com 

2Department of English and Literary Studies, 

Ebonyi State University,Abakaliki 

daddyobumneme@gmail.comKeywords 

 

Abstract  

The composition of literary or film narrative is permitted to borrow 

ideas from different experiences, ideologies or cultures but when a 

wrong concept is imported into a narrative at the expense of 

cultural values/humane qualities of Omoluwabi such adventure 

must be queried. The function of literature [film] is to provide the 

bank of images as a guide for acceptable behaviour, that is of 

crucial importance to a people’s development in any community or 

country.  Using the library research, the studio analysis approach 

and nonlinear structural analysis, as basic research methods; Isola’s 

theory on “humane qualities” and Otunla’s concept of Omoluwabi 

as theoretical frameworks, the study examines the narrative 

structure and the humane qualities of selected traits/characters in 

the film: Gold Statue.  Findings reveal that components of 

nonlinear technique (i.e. non-chronological order of presentation, 

a story within a story/parallel plot lines, anachronism and 

flashback) are creatively and effectively deployed in this narrative.  

However, the narrative in Gold Statue only succeeds in reflecting 

corrupt levels of government officials and in measuring success in 

terms of materialistic substances and monetary gains.  In this film, 

material values are placed over and above the humane qualities of 

mailto:sundayolakoyi05@gmail.com
mailto:daddyobumneme@gmail.com


Ola-Koyi & Obumneme: A critical exploration of the narrative structure… 

97 

 

love and patriotism.  For the fact that the lead role, Adewale Esho 

could not be seen as an ideal man, thus, the film fails to fulfil the 

basic function of projecting a model for young viewers to copy.  It 

is therefore recommended that scriptwriters and film directors 

should ruminate and ponder more on the traits of their lead roles 

and use such in promoting acceptable behaviours, to prevent cases 

where corrupt images are projected as models for the public to 

copy.  

 

Keywords: Gold Statue, nonlinear narrative, humane qualities, 

Omoluwabi, film evaluation 

 

Introduction  

Anyone who is seeing the movie Gold Statue for the first time is 

likely to be taken in by its cinematographic quality in which the 

director creatively deploys helicopter/drone shots in establishing 

different locales and settings for its actions and to bridge the 

scenes.  Some symptomatic impressions in Gold Statue could be 

traced back to another film, Figurine - Araromire.  Discernable and 

parallel features in Gold Statue and Figurine - Araromire includes 

the attitudes of the youth (especially NYSC members) toward 

ancient artefacts. While the production of Figurine - Araromire 

discourages the daring spirit of the young ones in trying to use the 

sacred artefact for any personal ambition/ gains by revealing a 

disastrous ending for such an attempt, the Gold Statue production 

encourages the prodigal venture of selling the ancient artefact to a 

merchant for monetary gains or personal aggrandisement. Both 

films reflect the length in which young ones could go in achieving 

personal goals and they do not mind stepping on toes to achieve 

their inordinate ambitions.  For instance, the antagonist in The 

Figurine - Araromire does anything possible to accomplish his 



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impossible love while the protagonist in Gold Statue endures many 

body pains to sell his ancestral artefact for material wealth and 

personal gains.   

Isola’s translation of the proverbial prodigal son that “…a 

child not built-up morally will sell the house built by the parents” 

specifically captures the theme of the film Gold Statue.  The lead 

role, Adewale Esho (Gabriel Afolayan) does not mind giving his 

parents traumatic experiences, destroying his family name and 

betraying his clan because of his inordinate ambition of selling the 

ancestral gold statue.  In projecting the theme of this film, the 

director employs the nonlinear narrative technique, which to some 

levels, makes the production an interesting experience for the 

audience.   

Using a nonlinear analytical metric system, Isola’s theory 

on “humane qualities” and Otunla’s concept of Omoluwabi as 

evaluative yardsticks, the study examines the narrative structure 

and the humane qualities of Omoluwabi in selected traits/characters 

of the movie Gold Statue. 

 

Conceptual Framework  

Linear and nonlinear narrative structure 

In demonstrating how linear and nonlinear work Ola-Koyi 

opines that:  

…the linear structure works with a unidirectional mode of 

association which is based on rational logic, while the nonlinear 

structure works with a multidirectional (metaphoric) mode of 

association that may appear irrational to physical order.  Hence, a 

nonlinear structure could be used in explaining occurrences in 

abstract form or events in the metaphysical realm of existence such 

as the vision of metaphysical encounters, invisible experience, 

spiritual activities, mental sphere or human memory. (49)  



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The Features of nonlinear narrative technique: 

The discernable features of nonlinear narrative techniques 

that are often used as yardsticks for analysing creative work can be 

succinctly itemised thus: one, a non-chronological order of 

presentation. This is a narrative technique which does not follow 

the direct causality pattern of the events but follows any other 

format except a 1-2-3 order of presentation; two, having 

multidirectional lines of presentation.  That is incorporating 

techniques such as story within a story or parallel plot lines, dream 

immersions, anachronism, flash-forward or flashback; three, 

depicting a character-oriented mode of presentation.  It focuses 

more on the character and his/her actions without the constraints 

imposed by a linear feature of logical cause and effect structure and 

registers a basis for a strong thematic unity.  It is usually used as a 

driving force in building tension and suspense within a narrative 

and deployed as a basis for strong thematic unity. 

 

Qualities of Omoluwabi - Theory on humane qualities/ 

In his paper on ‘In Whose Image’, Isola discusses the theory 

of humane qualities and the identified values he sees as 

components of intangible cultural heritage.  While linking the 

humane qualities with physical development (or personal success) 

in a given society, he opines thus:  

 

Without intangible development, there can be no 

sustainable development. There is a tendency to define and 

measure development through methods and measures that 

are primarily material: constructing roads, schools, 

hospitals, factories, dams, buying vehicles, ships and 

aircraft. But the truth is that these material goals cannot be 



AMA: Journal of Theatre and Cultural Studies 

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sustained by material means alone. To make these material 

goals socially sustainable, people require not only 

knowledge, skill and vision but also those humane qualities 

that constitute the intangible aspects of development - 

honesty, dignity, hard work and so on. Otherwise, as a 

Yoruba proverb says: a child not built up morally will sell 

the house built by the parents. (59)  

The identified humane qualities from the foregoing if 

considered from Otunla’s concept of Omoluwabi could be 

extended to include honour, integrity, love and patriotism.  In his 

words: 

Omoluwabi is, all that we know as recommended in the 

ancient Yoruba systems of thought and code of behaviour 

based on the twin ethical foundation of HONOUR, 

INTEGRITY.  Its uniqueness resides in the humanity of its 

ethics…  In this capsule, the individual is expected to 

conduct all social relations – inclusive of the political and 

economic, within and upon the basis of all that is 

honourable and with the highest regard for integrity, These 

are the “commandment” that the good and virtuous person 

but the Yoruba (OMO ODUDUWA) in particular must 

abide by for personal and group sanity in a SANE 

SOCIETY. (22)  

 

The Features of humane qualities/qualities of Omoluwabi:  

The main attributes of Isola’s and Otunla’s theories could 

be summarised thus, that the humane qualities of Omoluwabi 

comprise honesty, dignity, hard work, honour, integrity, love and 

patriotism etc.  Furthermore, the humane qualities of Omoluwabi 

incorporate the intangible values that are required in human 

relationships, without which tangible development/personal 



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success could not be obtained or sustained.  Finally, it is erroneous 

to measure success or development only through materialistic 

substances. 

 

Synopsis of Gold Statue 

The story in Gold Statue is an adventure of a young man, 

Adewale Esho (Gabriel Afolayan) and his friend Chike Okereke 

(Kunle Remi).  These two are inspired at the University in 

unearthing the ancestral gold statue that was buried under a modern 

prison yard in Ilesha.  After making the necessary plan, Adewale 

contacts Bryan (Kalu Ikeagwu) Bryan uses the modern gadgets at 

his disposal as a consultant archaeologist to trace this ancient 

artefact.  To have access to this gold Adewale Esho decides to 

spend some time in prison by committing minor crimes and he is 

jailed and sent to Ilesha prison.  His parents are traumatised 

because they could not understand the reason why a university-

trained child would want to steal a car.  

During his sojourn in prison, under the name Samuel Okon, 

Adewale Esho sells the idea of a jailbreak to “Capone” (Rycardo 

Agbor) the head of the inmates who consults Hammer (Kevin 

Ikeduba) his right-hand-man.  Having received the required tools 

for the excavation of the gold statue, under the pretence of a 

jailbreak and several weeks of carving and moving through the 

tunnel, they excavate the gold statue and load the precious metal 

on a waiting truck while some Inmates flee before the local security 

men catch some of the prisoners in their attempt to escape. The 

excavated and telecast statue becomes a tussle between national 

and state governments.  This gold statue which could have earned 

the linage of Esho incorruptible international or state honour is 

sacrificed on the altar of personal greed and the craving for 

wealth/materialism.  To get this artefact sold in the international 



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market, Adewale Esho bribes his way through some corrupt 

government official representatives.  Thus the glorified state 

artefact is miraculously returned to Adewale Esho’s den from 

where it is shipped overseas for sale, while the proceeds from its 

sales are shared between him, his cronies and some corrupt state 

officials. 

 

The Exploration of the Narration in Gold Statue   

The manifestation of a non-chronological order of 

presentation in the movie: Gold Statue, opens with an “in-media-

res” technique which is a style of commencing a story in the middle 

of the series of actions.  The first frame in Frame 1 reveals a 

medium-wide shot of agitating crowd and like the audience, two 

boys are running toward the mob.  The suspense in this opening is 

strong enough to activate the viewer’s interest in knowing what is 

going on, on screen.  In other words, a spontaneous act or the 

emergency gathering of people who must have left their various 

homes to accomplish different intentions for the day, suddenly 

aborting their purposes to assemble on the street is capable of 

inciting curiosity.    

Thus it could be stated that the deployment of this in-media-

res technique in Gold Statue succeeds in capturing the audience's 

attention and propelling them into seeing the film through.  As a 

member of the audience, one is compelled to find out through the 

second frame in 1, why Adewale Esho is been attacked by an angry 

mob.  In satisfying this curiosity, the film further introduces the 

flashback technique which is another component of nonlinear 

structure.  The flashback used is combined with voice-over. This 

documentary style of presenting what Ekwuazi regards as “a family 

pattern of story development” (2002), leads the audience back to 



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the beginning of the story.   The use of this voice-over narrative 

technique is sufficient to qualify this film as a docu-drama.  

In deploying the anachronism/flashback technique, the 

director uses helicopter/drone shots to establish some of the 

panoramic views of selected locations within the Lagos metropolis. 

Then fades back into an amusement park, where Adewale Esho and 

his friend Chike are having fun.  Specifically, in Frame 2, the drone 

shot flies through the main gate of the University of Lagos campus 

and cuts into a large lecture theatre, where in Frame 3, a lady 

professor is delivering a lecture on the Ijesa people and their 

ancestral gold statue.   

The presentation of activities in the lecture hall again 

unfurls another component of nonlinear narrative structure.  The 

process in which a professor shares her lecture with both the on-

screen students in the lecture hall and the off-screen audience at 

home is a system of “sharing a story within another story.” It is a 

style of developing a parallel plot technique in a narrative.  As 

employed in this film, the technique is invoked with the aids of 

multimedia gadgets deployed as teaching aids for the lecture.  

During her oral delivery of the lecture, the teaching aids reveals 

some film clips and slide shots as evidence to support the 

Professor’s claims.  The combination of these two components (the 

parallel plot technique and the use of the multimedia system) 

eventually enhanced and boosted the narrative quality of the film.   

Moreover, one could see that the flashback or the 

anachronism technique is invoked to give an explanation or offer 

reasons behind certain actions and to establish the state of events.  

Furthermore, an anachronism is used in explaining why Capone 

(Rycardo Agbor) is on the execution list at Ilesha maximum prison 

and why he blindly supported the idea of jailbreak.  The invocation 



AMA: Journal of Theatre and Cultural Studies 

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of the anachronism style equally helps in portraying Gold Statue as 

a movie based on a character-oriented mode of presentation.   

The plot of this narrative is structured to give a mixed and 

fluctuating range of story information.  For example, many pieces 

of information are revealed through the lines, the actions and the 

thoughts of the lead role: Adewale Esho.  Less than thirty per cent 

of the total events in this story are shown without his presence.  

Therefore, it would be appropriate to say that Gold Statue combines 

elements of both the restricted and unrestricted story presentation 

format.  In other words, the restricted range of information often 

reveals events in a story through an individual who must be present 

at all the scenes, while the unrestricted range of story information 

is an omniscient narration system that divulges information 

through multiple means because information could be gotten from 

any of the characters or locations featured in the film.       

To do away with the constraints imposed by a linear feature 

of logical cause and effect structure, this movie, Gold Statue uses 

a mixed method of story information to focus more on the lead 

character and his actions.  This method allows the viewers to share 

the various depths of both the physical and psychological 

experiences of Adewale Esho.  Consequently, viewers can see how 

the inordinate desire of the lead role to unearth the gold statue is 

used as a strong thematic unity that runs throughout the film. This 

desire to sell his ancestral heritage is used as a driving force in 

building tension and suspense within this narrative.  

Having analysed the nonlinearity features in Gold Statue, 

attention will be shifted to diagnosing identified features of the 

humane qualities of Omoluwabi.  In this assessment, the 

manipulation of the depth of story information or the depth of 

viewers’ knowledge will be explored further.  Fundamentally, the 

depth of story information is used to reveal both the objective and 



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the subjective traits of a character.  While objective mannerisms are 

deciphered through physical qualities of body, voice or 

motivations, subjective traits are accessed through the perceptual 

subjectivity of sound, optical and mental components.  

It could be established that there are some shots in Gold 

Statue which could be used to analyse objective traits of some 

characters (Adewale, Chike, Granpa Esho, Mr Esho, and Mrs 

Esho).  For instance, the composition of the shots in Frames 4 and 

5, could be diagnosed to reveal external behaviours – actions, 

movements or speeches of Adewale Esho and Chike.  A semiotic 

interpretation of “the body attitudes” of both Adewale and Chike 

in 4 and 5 reveals other useful pieces of information on the 

personalities of these two individuals and tells a lot about these two 

dominant characters.   

In decoding the objective depth of knowledge in these 

frames, the semiotic/diagnosing variables or the identifiers of the 

external behaviour that would be used include appearance, 

posture, stance, proximity or dialogue.  To be more specific, one 

could see that in appearance, both Adewale and Chike are young 

men between the ages of 21 to 28, from their costumes, the setting 

of the room and other accessories used, one could see that they are 

from well-to-do families. While their mannerism – body language, 

skills and compositions indicate that they are not only students but 

active individuals with bright futures.   In Frame 4, the facial 

expression of Adewale reveals him as a figure lost in his thought, 

as a forward-looking personality, he gazes on as if staring into the 

camera.  The second figure on the left side of the frame, Chike is 

shown as a studious student who is jotting down information from 

the ongoing lecture on Ijesa people.   

Similar attitudes are depicted by these two roles back in 

their room at the hostel (Frame 5).  While Chike is studying, 

Adewale is busy chatting on WhatsApp, looking for the means of 

actualising his dream.  The nondiegetic element on the screen in 



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Frame 5: the WhatsApp subtitle graphic equally complements the 

intention of Adewale.  The sitting arrangement in the lecture hall 

and their placement in their room at the hostel confirm the 

closeness of these two.  That is in proximity, these two are close 

friends both in school and at the hostel and this equally adds up to 

the pieces of information on these characters. 

Grandpa Esho (Peter Fatomi) in appearance is depicted as 

a wise old man in a white costume which in the Yoruba worldview 

connotes purity of body and soul. In posture and proximity, Pa 

Esho is close to his children and very friendly with his 

grandchildren.  This old man is a true traditionalist and through his 

dialogue, one could see that he is trustworthy and instance, he is a 

custodian of cultural heritage who could not be lured into revealing 

secrets.  Mr. Esho is like his father Grandpa Esho in stance and 

speech.  He is revealed as a disciplinarian who will not condone 

any act of indiscipline from Adewale or his wife’s over-pampered 

attitude towards her children. In proximity, Mr Esho is not so close 

to his son due to Adewale's lackadaisical attitude.   

A critical look at the frames in Frames 6 and 7 reveals an 

appropriate use of facial resemblance/ physique in the casting of 

these personalities and their roles: Peter Fatomi as Pa Esho the 

grandfather; Richard Mofe-Damijo as Mr Esho, the father and 

Gabriel Afolayan as Adewale Esho, the son. The three men shared 

in common facial features of beards and moustaches.  Pa Esho in 

appearance has grey hairs, a grey moustache, and a greybeard, 

while Mr Esho maintains a bald head, grey facial stubble and 

greybeard in appearance and Adewale Esho the youngest of them 

all in appearance has black hairs, a black moustache and black 

beard.  Thus these roles in appearance maintain convincing and 

believable family resemblance/physiques.  

Mrs Esho (Sola Sobowale) in appearance is a business 

tycoon dealing in clothing materials and accessories. She could be 

called a societal woman and a fashionable lady of elegance.  

Instance, posture and expression, she is a highly emotional woman 



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107 

 

and a dedicated mother.  In proximity (Frame 8), she is very close 

to Adewale and ready to indulge him with whatever he wants.  

According to Bordwell and Thompson, viewers can deduce 

subjective facts from on-screen images through sound, optical and 

mental perspectives.  In revealing the psychological/inner motifs 

for Adewale’s actions through the subjective perceptual procedure, 

the plot of Gold Statue grants viewer access to what this lead 

character sees, hears and thinks.  Therefore, these perceptual 

elements of sound, optical and mental views would equally be used 

to determine the qualities of Omoluwabi in Adewale Esho.  

The frequent elements of the perceptual subjectivity used in 

portraying the psychological traits or the inner mind of Adewale in 

Gold Statue are the sound and optical views. In evaluating the 

qualities of Omoluwabi / humane qualities in Adewale Esho, one 

could recall that the narrative uses flashback and anachronism 

systems to offer the reasons behind some of Adewale’s actions, that 

includes his reason for attempting to steal a car and the beating 

thereafter, his desiring to unearth the gold statue by all means and 

at all cost, and the revelation on how he comes to Ilesha while he is 

supposed to go to elsewhere for his NYSC programme.   All these 

motifs are revealed on screen through the subjective/inner views of 

Adewale Esho.  A specific example could be drawn from the first 

introduction of the flashback cum voice-over technique where 

viewers are taken through an audiovisual sequence which goes back 

into the lecture hall in Frame 3 where a Professor is delivering a 

lecture on Ijesa people and the worth of the gold status.  According 

to Adewale, the experience shared in this lecture corresponds with 

a story Pa Esho once shared with him but the worth of the statue is 

not mentioned.  Consequently, this flashback/audiovisual sequence 

enables the viewers to conclude that the worth of the gold statue 

indicated in the lecture in Frame 3 causes Adewale to ruminate 

further on how to unearth this statue in Frame 9.    

Through the sequence in Frame 9, viewers are allowed to 

access and dwell further in Adewale’s mental concept where they 



AMA: Journal of Theatre and Cultural Studies 

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can hear him wishing for his grandfather to die soon so that he could 

move on with his selfish interest of unearthing the gold statue for 

sale.  From all moral standards, the act of wishing a family member 

evil, due to a personal desire of selfish gain is a vice.  And it is 

contrary to the integrity virtue of Omoluwabi, where love and 

integrity “…ensure that one does not benefit, especially by design, 

from situations at the expense of or risk of obvious disadvantages 

to the OTHER in social relations.” 

The inner thought of Adewale Esho reveals in Frame 9, 

equally depicts him as a self-centred being that will do anything to 

have his way.  If not that Pa Esho has not died naturally, Adewale 

could have murdered the old man.  To buttress the identified evil 

traits in Adewale, one could see in Frame 6 where he tries to 

persuade his grandpa in telling him the location of the hidden gold 

statue, and when the old man refuses, Adewale devices other tactics 

through which he can unravel the mystery behind the location of 

this statue.   

Another scene where his unhealthy manipulating skill is 

displayed could be found in Frame 8.   Having convinced his mother 

she follows him to see his father, Mr Esho where they plead with 

Mr Esho so that he could ask his friend at the NYSC headquarters 

to change Adewale’s NYSC posting to Oshun state. But when Mr. 

Esho refuses to dance to his tune, he still finds his way to Ilesha to 

accomplish his mission at all costs which brings emotional torment 

and sorrow to his parents.   

It is obvious again that Adewale’s actions in the sequence 

are contrary to qualities embedded in the Omoluwabi concept.  

Physically and psychologically Adewale Esho’s actions could be 

interpreted as someone who lacks human dignity and integrity.  He 

is willing to go to jail because of the material gain.   Thinking from 

another perspective Adewale could be seen as a dishonest, 

stubborn, and ruthless young man.  if Adewale is capable of putting 

his parents (especially his mother) through emotional torture, there 

is no one he can not run over in the course of achieving his desire.  



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As a deceptive being, Adewale Esho lures some of the inmates into 

excavating the gold statue for him under the disguise of “a 

jailbreak.”  Luckily for him (Adewale), none of the inmates bothers 

to question his motif.  As soon as the ancestral statue is unearthed, 

he also succeeds in enticing other gullible cohorts.  And any 

government officer or agent who tries to stop him is invited to have 

a share of the proceeds from the sales of this statue.   

In Frame 10, a mental perceptual view is again deployed to 

reveal Adewale Esho’s tricks after putting up a charade before 

national and international television channels announcing that the 

gold statue is to be donated to the government. This generates a 

tussle between his home state government and the federal 

government.  This mental perceptual style enables Adewale Esho 

to directly address the viewers and confess his sins as if talking to 

a friend.  There and then he formally re-introduces his cohorts and 

the corrupt government officials/collaborators and their roles in 

achieving his material success, as he unfurls the strategy, he 

deployed in retrieving the gold statue after it had been donated to 

the government.   

In assessing the qualities of Omoluwabi through other 

selected characters, one could see that contrary to the values of 

dignity, honesty and patriotism.  Some of the state/government 

functionaries projected in this narrative lack all these qualities.  To 

be precise, the Head-warder (Ali Baba), is depicted as a corrupt man 

with some elements of kindness.  The Zonal Commander of Prison 

Service (Segun Arinze) is projected as a deceptive and corrupt 

brute.  The Minister of Mineral Resources is revealed as an 

unpatriotic being that lacks any spirit of loyalty.  With these crops 

of characters in a narrative, one could say that the film practically 

promotes and glorifies the desire and craving for materialism that 

currently permeates Nigerian social space and government services. 

Thus, the monetary value of the gold statue is placed over 

and far above the humane love to preserve the ancestral artefact as 

cultural heritage.  Even the governor or the representative of state 



AMA: Journal of Theatre and Cultural Studies 

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government is busy arguing for some percentage of the total 

monetary worth of the ancestral artefact which is then put at ten 

billion dollars instead of conversing about the preservation of the 

gold statue on television. 

 

Findings  

In this study the following exercises have been carried out: 

critically demonstrate how a non-chronological order of 

presentation is creatively used to capture and retain the viewer’s 

interest as well as create tension and suspense.  Reveals how other 

techniques of nonlinearity such as story within a story or parallel 

plot lines, anachronism and flashbacks are effectively deployed to 

enhance the narrative qualities of the film.  Objectively examines 

the traits of selected lead roles in this narrative and analyses how 

the character-oriented mode of presentation is deployed to create a 

strong thematic unity without the constraints imposed by a linear 

feature of the logical cause and effect.   In evaluating the humane 

qualities or the qualities of Omoluwabi in the lead role, the study 

used subjective depth of story information in assessing the driving 

motifs behind most of Adewale Esho’s actions.  Demonstrate how 

some of these driving forces are used in building tension and 

suspense within the plot of this narrative. 

 

 

Conclusion 

Even though, the narrative techniques used and the 

deployment of advanced digital cinematographic methods 

enhanced the dramatic and filmic qualities of the film, in terms of 

humane qualities, except for two or three characters, the qualities of 

Omoluwabi exhibited by the lead role: Adewale Esho and some 

government officials are very discouraging.  Even though, some 

viewers might argue that the film reflects the corrupt aspects of the 

modern society in Nigeria, the lead roles could have been made a 

sample of Omoluwabi, an image, any young man or woman could 



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111 

 

emulate.  Because the function of literature (ditto for a film) is to 

provide a bank of images as a guide for acceptable behaviour and 

the humane qualities of Omoluwabi are parts of the intangible 

aspects of human achievement/development.  

Thus it could be stated that instead of projecting a genuine 

ideology of success and development, the movie Gold Statue 

deliberately glorifies moral decadence and debauchery.  And the 

level of perversion displayed through the actions of some characters 

in this narrative is nothing but samples of corrupt beings which no 

viewer should emulate.   

 

Recommendation 

Hence, it is recommended that scriptwriters and film 

directors should ruminate and ponder more on the traits of their lead 

roles and that of other major characters.  Actors on screen are 

models and they should be used in promoting acceptable 

behaviours, to prevent cases where corrupt images are projected as 

models for the public to copy. 

 

 

References  

Ajayi, S. A. African Culture and Civilization, City?: Atlantic 

Books. 2015. 

Bordwell, D. and Thompson, K. Film art: an introduction (7th ed.) 

New York: The McGraw-Hill Companies. 2004. 

Ekwuazi, Hyginus. A New Approach to the Screenplay. Jos: NFI. 

2002. 

Isola, Akinwunmi. In Whose Image. Foluke Ogunleye (Ed.) 

African through the Eye of the Video Camera. Manzini, 

Swaziland: Academic Publishers.  2008. 

Ola-Koyi S.J.B. The Anatomy of Visual Narrative in Tunde 

Kelani’s Maami and Abeni Films. An unpublished M. Phil 



AMA: Journal of Theatre and Cultural Studies 

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Dissertation in the Department of Theatre Arts, University 

of Ibadan. 2019. 

Otunla, Tao.  Omoluwabi: The Pursuit of Virtue. Ilesha:Lagemo 

(Nig) Ltd. 2008.  

Westhuizen, Millie van der. Linear vs. Nonlinear Narratives: 

Definition & Structure - Video ... 

https://study.com/academy/lesson/linear-vs-nonlinear-

narratives-definition-s. 23-01-2019. 

Williams, R. Marxism and Literature Oxford University Press, 

London. 2007. 

 

Film: 

Ogidan, Tade. Gold Statue. OGD Pictures. 2019. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



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Frame 1: An in-media-res technique reveals an ongoing action where the 

furious mob unleashes terror on Adewale Esho after a failed attempt to 

steal a salon car… 

 

Frame 3: The interior set of the 

large lecture theatre where a 

Professor is delivering a lecture on 

Ijesa people… 

 

Frame 2: A drone shot flies over the 

main gate of the University of 

Lagos campus, where a lecture is 

going on …. 

 

Frame 4: The facial expression of 

Adewale reveals him as a figure 

lost in his thought, while Chike is 

busy jotting down information 

from the on going lecture  

Frame 5: The facial expression of 

Chike reveals him as a studious 

person, while Adewale is busy 

chatting through WhatsApp …  

 



AMA: Journal of Theatre and Cultural Studies 

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Frame 7: Mr. Esho like his father, is a 

disciplinarian who will not condone any 

act of indiscipline from any of his 

children especially Adewale 

Frame 6: Adewale tries to bribes his 

grandpa with edible material: food, 

fruits and drinks in an attempt to cajole 

him into telling him the location of the 

gold statue…but the wise old man 

suspects his inordinate intention 

towards this ancestral heritage and 

declines in revealing the exert location 

of the statue to him. 

Frame 8: In stance, posture and 

expression, Mrs Esho is highly 

emotional woman and a dedicated 

mother. 

 

Frame 9: Viewers are granted an access 

into Adewale Esho’s mind through 

voice perceptual technique where he 

wishes his grandpa should die soon…  

 



Ola-Koyi & Obumneme: A critical exploration of the narrative structure… 

115 

 

 

Frame 10: After the putting up a charade of donating the gold statues to the 

government, Adewale Esho and his friend Chike Okereke come home to 

celebrate with their cohorts and corrupt government officials, their victory and 

the intended sales of the ancestral statue which if well preserved could be a 

cultural monument for tourists to visit.  FOR TOURISM. 


