JOURNAL OF COMMUNICATION AND MEDIA RESEARCH
ISSN 2141 - 5277
Vol. 11,   No. 1
APRIL 2019
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Published by the
Association of Media and Communication Researchers of Nigeria (AMCRON)
Reg. No.: CAC/IT/NO 111018
Copyright © Association of Media and Communication Researchers of Nigeria (AMCRON)
All correspondence to:
The Editor
Prof. Eserinune McCarty Mojaye
Journal of Communication and Media Research
c/o Department of Mass Communication
Kwara State University, Malete,
Kwara State, Nigeria.
Email: jcmrjournal209@gmail.com
Website: http://www.jcmrweb.com
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JOURNAL OF COMMUNICATION AND MEDIA RESEARCH
ISSN 2141 – 5277
Editor
Eserinune McCarty Mojaye, Ph.D.
Professor, Department of Mass Communication, Kwara State University, Malete, Kwara State
Nigeria.
Associate Editor
Godwin Ehiarekhian Oboh, Ph.D.
Professor, Department of Mass Communication, Benson Idahosa University, Benin City, Nigeria.
Editorial Advisory Board Members (listed in alphabetical order, surname first)
AMERICA
Agunga, Robert Ph. D., Professor, The Ohio State University, 203 Agricultural Admin Building,
2120 Fyffe Road, Columbus, Ohio, U.S.A. Email: agunga.1@osu.edu
Blake, Cecil Ph.D., Professor, formerly of the Department of Africana Studies, University of
Pittsburgh, Pittsburgh,
U.S.A. Email: cblake@pitt.edu
Moemeka, Andrew A. Ph.D., Professor Emeritus, Department of Communication, Central
Connecticut State University, New Britain, U.S.A. Email: andrewmoemeka @gmail.com
Mogekwu, Matt Ph.D., Professor, formerly of the Department of Journalism, Roy H. Park School of
Communications, Ithaca College, Ithaca, U.S.A. Email: mogekwu@yahoo.com
Ogbondah, Christian Ph.D., Professor, Department of Communication Studies, University of
Northern Iowa, Cedar Falls, Iowa, U.S.A. Email: chris.ogbondah@uni.edu
Onyebadi, Uche Ph.D., Associate Professor and Chair, Department of Journalism, Bob Schieffer
College of Communication, Texas Christian University, Fort Worth, Texas, U.S.A. E-mail:
AUSTRALIA
Obijiofor, Levi Ph.D., Professor, School of Journalism and Communication, The University of
Queensland, St. Lucia, Brisbane, Australia. Email: l.obijiofor@uq.edu.au
CANADA
de B’beri, Boulou Ebanda Ph.D., Professor, Founder and Co-Director, African and Diasporic
Cultural Studies Series, University of Ottawa Press, University of Ottawa, Ottawa, Canada.
Email: b.debberi@uottawa.ca
SOUTH AFRICA
Salawu, Abiodun Ph.D., Professor, Department of Communication, North-West University,
Mafikeng Campus, Private Bag X2046, Mmabatho 2735, South Africa.
Email: salawuabiodun@gmail.com
Uyo, Adidi Ph.D., Professor, Department of Journalism and Mass Communication, University of
Swaziland, Kwasuleni, Swaziland. Email: diduyo@yahoo.com
UNITED ARAB EMIRATES
Tesunbi, Samuel Ph.D., Reader, School of Information Technology and Communications, American
University in the Emirates, United Arab Emirates. Email: omoejire@gmail.com
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NIGERIA
Adamu, Abdalla Uba Ph.D., Professor of Media and Cultural Communication &
Professor of Science Education and Curriculum Development, Vice Chancellor, National
Open University of Nigeria, University Village, Plot 91, Jabi Cadastral Zone, Nnamdi
Azikiwe Expressway, Jabi, Abuja. Email: auadamu@yahoo.com
Ajala, Victoria Ph.D., Professor, formerly of the Department of Mass Communication, Bowen
University, Iwo, Osun State, Nigeria. Email: funmilayo44@yahoo.com
Akinfeleye, Ralph Ph.D., Professor, Department of Mass Communication, University of
Lagos, Lagos, Nigeria. Email: ralphakinfeleye@hotmail.com
Alao, Ekundayo Samuel, Ph.D., Professor & Vice Chancellor, Adeleke University, Ede, Osun State,
Nigeria. Email: dayoalao2002 @yahoo.co.uk
Christopher, Nkechi Ph.D., Professor, Department of Communication and Language Arts,
University of Ibadan, Ibadan, Nigeria. Email: nmxtopher@gmail.com
Laninhun, Beatrice Adeyinka Ph.D., Department of Communication and Language Arts, University
of Ibadan, Ibadan, Nigeria. Email: ba_laninhun@yahoo.com
Mojaye, Eserinune McCarty Ph.D., Professor, Department of Mass Communication,
Kwara State University, Malete, Kwara State, Nigeria. Email: emvmojaye@yahoo.com
Ngoa, Stanley Naribo Ph.D., Professor of Mass Communication, National Open University of
Nigeria, University Village, Plot 91, Jabi Cadastral Zone, Nnamdi Azikiwe Expressway, Jabi,
Abuja, Nigeria. Email: dr.snn.enigma@gmail.com
Nwuneli, Onuora Ph.D., Professor of Mass Communication & His Royal Highness, Igwe of Eze
Malume-Igbakwu, Ayamelum Local Government Area, Anambra State, Nigeria.
Email: nwuneli@yahoo.co.uk
Oboh, Godwin Ehiarekhian, Ph.D., Professor, Department of Mass Communication, Benson
Idahosa University, Benin City, Nigeria.
Ogwezzy-Ndisika, Abigail Ph.D., Professor, Department of Mass  Communication,
University of Lagos, Lagos, Nigeria. Email: bigaily2k@yahoo.com
Ojebode, Ayobami Ph.D., Professor & Head, Department of Communication and Language Arts,
University of Ibadan, Ibadan, Nigeria. Email: ayo.ojebode@gmail.com
Okoye, Innocent Ph.D., Professor, formerly of the Department of Mass Communication, Kwara
State University, Malete, Kwara State, Nigeria. Email: inno6okoye@yahoo.com
Olatunji, Rotimi Ph.D., Professor & Dean, School of Communication, Lagos State University, Ojo,
Lagos, Nigeria. Email: rotimiolatunji@yahoo.com
Omenugha, Kate Ph.D., Professor of Mass Communication & Honourable Commissioner for
Education, Government of Anambra State, Awka, Anambra State, Nigeria.
Email: komenugha@yahoo.co.uk
Oso, Lai Ph.D., Professor, School of Communication, Lagos State University, Ojo, Lagos, Nigeria.
Email: laioso@ymail.com
Owens-Ibie, Nosa Ph.D., Professor, Department of Mass Communication, Caleb University, Imota,
Lagos, Nigeria. Email: nosowens@gmail.com
Oyewo, Olusola Oyeyinka Ph.D., Professor, Department of Communication and Language Arts,
University of Ibadan, Ibadan, Nigeria. Email: isolaoyewo@gmail.com
Pate, Umaru Ph.D., Professor, School of Communication, Bayero University, Kano,
Nigeria. Email: umarupate@hotmail.com
Sobowale, Idowu Ph.D., Professor, Department of Mass Communication, McPherson University,
Seriki Sotayo, Ogun State, Nigeria. Email: idowu_sobowale@yahoo.co.uk
Soola, Ebenezer Oludayo Ph.D., Professor, Department of Communication and Language Arts,
University of Ibadan, Ibadan, Nigeria. Email: eosoola1@yahoo.com
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ABOUT JCMR
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This is the
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JOURNAL OF COMMUNICATION AND MEDIA RESEARCH
ISSN 2141 - 5277
Volume 11 Number 1 APRIL  2019
Contents
SOCIAL & ONLINE MEDIA
Alexandra Merceron
& David J. Atkin Determinants of the adoption and use of mobile health
applications among U.S. citizens 1
Yasmin Gopal Building brands and communities: How social media
are changing the landscape of non-profit organizations
in a city in Michigan, U.S.A. 14
Adenike Omotayo Okeya Attitude of postgraduate students of a Nigerian
university to online advertising 27
BROADCAST & FILM MEDIA
Benedict Ikisikpo Afagha
& Rosaline Oluremi Opeke Budget process and organizational performance of
privately-owned broadcast media organizations in
South-South, Nigeria 38
Ifeoluwa Olabisi Atakiti,
Helen Odunola Adekoya &
Taiwo Abolaji Ogunwemimo Computer literacy, ease of use, perceived usefulness and
adoption of television streaming in South-West Nigeria 52
Jendele Hungbo Performance and orality in Talk Radio 702’s eyewitness
news in South Africa 66
Victor D’Shawn Evans Deciphering Brokeback: The New Gay Film Genre 73
MEDIA INFLUENCE, PERCEPTION, FRAMING
Kabir Alabi Garba &
Joseph Adepoju Tejumaiye Media power in Nigeria: Real or imaginary? 86
Lai Oso &
Eserinune McCarty Mojaye Media relations, event management and the publicity
Process 98
Abimbola Adekemi Oluyemi,
Adesola Olufunmi Bello &
Anthony Ifidon Olopha Influence of movies immersion on students’ values,
interests, and lifestyles in three Nigerian universities 105
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Macharia Kiruhi
& Wambui Kiai Family and peer group influence on spousal sexual
communication in Ong’ata Rongai Town, Kajiado
County, Kenya 118
Michael Nwali Eze Perception of media strategies used in human
trafficking campaigns in Ebonyi State, Nigeria 130
Samuel Okere &
Ogbiten Brickins Ogbemi Host communities’ perception of oil companies’
corporate social responsibility for managing conflict in
Nigeria’s Niger Delta 144
Paul Mburu Jinaro Moderating effect of cultural dynamics on the
relationship between media framing of wildlife
conservation messages and audience perception in Kenya 153
Clemenciana Mukenge Gendered frames in HIV and AIDS reporting among
Zimbabwean newspapers 161
Vincent Adakole Obia &
Emmanuel Paul Idakwo News framing of traffic congestion in Nigeria’s urban
Areas 173
Michael O. Ukonu,
Joel Chinedu Ugwuoke &
Sylvester U. Ugwuanyi Conceptualization and typology of fake news:
Framework for solutions 181
Clement Adeniyi Akangbe Production techniques of photoplay magazines:
The example of Ató ḳ a, a Yorùbá photodrama 194
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JOURNAL OF COMMUNICATION AND MEDIA RESEARCH
CONTRIBUTORS Vol. 11 No. 1 APRIL 2019
AMERICA, UNITED STATES OF
Atkin,  David, Ph.D., is Professor in the Department of Communication at the University of
Connecticut, U.S.A. His research interests include communication policy as well as uses and effects
of new media. He has done grant-supported work on the adoption, use and regulation of new media.
Evans, Victor D’Shawn, Ph.D. is an Assistant Professor in the Department of Communication,
College of Arts & Sciences, Seattle University, 1103 Building, 3rd Floor, 901 12th Avenue, Seattle,
Washington, U.S.A.
Gopal, Yasmin Ph.D., is an Assistant Professor in the Department of Advertising and Public
Relations, Grand Valley State University, 1 Campus Drive, Allendale, Michigan, U.S.A.
Merceron, Alexandra  is a Lecturer in Strategic Communication at the School of Professional Studies
at Columbia University and a doctoral student at the University of Connecticut, U.S.A. Her research
interests include cross-cultural and health communication, including the use of emerging eHealth
technology by disadvantaged populations.
KENYA
Jinaro, Paul Mburu is a Corporate Communications Manager at the Kenya Wildlife Service. He is a
graduate of the University of Nairobi where he did his Bachelors and Masters Degrees in Journalism
and Communication Studies. He is currently pursuing a PhD degree in Communication Studies at the
School of Business, Human Resource Development Department, Karatina University, Karatina,
Kenya
Kiai, Wambui, Ph.D., is a Professor in the School of Journalism and Mass Communication,
University of Nairobi, Nairobi, Kenya.
Kiruhi, Macharia, Ph.D., is a lecturer in the School of Journalism and Mass Communication,
University of Nairobi, Nairobi, Kenya.
ZIMBABWE
Mukenge, Clemenciana is a Lecturer in the Linguistics Department, University of Zimbabwe, Mount
Pleasant, Harare, Zimbabwe.
NIGERIA
Adekoya, Helen Odunola, Ph.D. is an Associate Professor in the Department of Mass
Communication, Babcock University, Nigeria.
Afagha, Benedict Ikisikpo is a doctoral student in the Department of Information Resource
Management, Babcock University, Ilishan-Remo, Ogun State, Nigeria.
Akangbe, Clement Adeniyi, Ph. D., is a Senior Lecturer in the Department of Library, Archival and
Information Studies, University of Ibadan, Ibadan, Nigeria.
Atakiti, Ifeoluwa Olabisi, Ph.D. is a lecturer in the Department of Mass Communication, Babcock
University, Nigeria.
Bello, Adesola Olufunmi is of Olabisi Onabanjo University, Ago-Iwoye, Ogun State, Nigeria.
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RY
Eze, Michael Nwali is a lecturer in the Department of Mass Communication, Bowen University, Iwo,
Osun State, Nigeria.
Garba, Kabir Alabi is an Assistant Editor with Guardian Newspapers Limited, Rutam House, Apapa-
Oshodi Expressway, Isolo, Lagos, Nigeria.
Hungbo, Jendele, Ph.D., is an Associate Professor in the Department of Mass Communication,
Bowen University, Iwo, Nigeria
Idakwo, Emmanuel Paul is of the Department of Theatre and Media Arts, Federal University, Lafia,
Nigeria.
Mojaye, Eserinune McCarty, Ph.D., is a Professor in the Department of Mass Communication,
College of Information and Communication Technology, Kwara State University, Malete, Kwara
State, Nigeria.
Obia, Vincent Adakole is of the Department of Mass Communication, University of Lagos, Akoka,
Lagos, Nigeria.
Ogbemi, Ogbiten Brickins is of the Department of Mass Communication, Babcock University, Ilishan
Remo, Ogun State, Nigeria.
Ogunwemimo, Taiwo Abolaji is a Data Analyst with Orbital Quant Consulting, Nigeria.
Okere, Samuel, Ph.D., is a lecturer in the Department of Mass Communication, Babcock University,
Ilishan-Remo, Ogun State, Nigeria.
Okeya, Adenike Omotayo, Ph.D. is a lecturer in the Department of Communication and Media
Studies, Ajayi Crowther University, Oyo, Nigeria.
Olopha, Anthony Ifidon is of the Department of Mass Communication, Crawford University, Km 8,
Atan-Agbara Road, Faith City, Ogun State, Nigeria.
Oluyemi, Abimbola Adekemi is a lecturer in the Department of Mass Communication, Crawford
University, Km 8, Atan-Agbara Road, Faith City, Ogun State, Nigeria.
Opeke, Rosaline Oluremi, Ph.D. is a Professor in the Department of Information Resource
Management, Babcock University, Ilishan-Remo, Ogun State, Nigeria.
Oso, Lai, Ph.D. is a Professor in the School of Communication, Lagos State University, Ojo, Lagos,
Nigeria.
Tejumaiye, Joseph Adepoju, Ph.D. is an Associate Professor in the Department of Mass
Communication, University of Lagos, Yaba, Lagos, Nigeria.
Ugwuanyi, Sylvester Ugochukwu is a Senior Reporter with the Daily Post newspaper, Nigeria.
Ugwuoke, Joel Chinedu is of the Department of Mass Communication, University of Nigeria,
Nsukka, Nigeria.
Ukonu, Michael O. is of the Department of Mass Communication, University of Nigeria, Nsukka,
Nigeria.
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Production techniques of photoplay magazines: The example of
Ató ḳ a, a Yorùbá photodrama
*CLEMENT ADENIYI AKANGBE, Ph.D.
Abstract
The Yorùbá theatre practitioners employed the print media – tagged photoplay magazine – as production medium for
several of its plays during the second half of the twentieth century. The first and foremost publication in the
photoplay genre was named Ató ḳ a. A unique outlet of dramatic expression by the Yorùbá theatre companies from
1967 – 1991. However, Ató ḳ a has received little attention from researchers. The theory of Total Quality
Management (TQM) was employed for the study. The objective of this study is to document Ató ḳ a’s production
techniques and put its contributions to the development of Yorùbá entertainment industry on record. The primary
data consisted of 108 editions (25%) randomly selected from a total of 430 editions published. In-depth interviews
were conducted with all the five editors and one former photographer of Ató ḳ a. Findings showed that Ató ḳ a was a
fusion of dramatic arts, photographic arts and publishing arts. Its complex and sophisticated production was also a
melting pot of different specialisations and disciplines. Ató ḳ a had an electrifying impact on its teeming readers
across Nigeria and beyond. This paper is broadly discussed under: introduction, concept of TQM, origination and
design, editorial and editing, printing, discussion of findings, and conclusion.
Key Words: Photoplay Magazine, Ató ḳ a, Editor (Olótùú), Production, Yorùbá.
Introduction
The Yorùbá theatre practitioners had actively leading stars like Hubert Ogunde, Duro Ladipọ,
expressed itself at different times through stage, Kọla Ogunmọla, Oyin Adejọbi, Ayinla
radio, television, phonodisc, photoplay, celluloid Olumẹgbọn, Adebayọ Faleti, Iṣọla Ogunṣọla, Ojo
film and home video (Akangbe, 2005:2). Ató ḳ a Ladipọ and Adeyẹmi Afọlayan; and a few of the
photodrama began in 1967 as the fifth media of existing ones like Lere Paimọ, Ọlọfaana, Oyewọle
performance in Ogunde Dramatic tradition. It was Olowomojuọrẹ, Tubọsun Ọdunsi, etc. Ató ḳ a as a
published by West African Book Publishers dramatic media was a very unique one in that it
(WABP) and printed by its sister company – was a product of multiple arts and skills. These
Academy Press (AP) both located in the same arts are playwriting, acting, voice recording,
compound at Ilupeju in Lagos State. It debuted photography, transcription, editing,  typesetting,
with late Hubert Ogunde’s popular and filming, platemaking, and printing. A copy of the
controversial satirical and politically-volatile play magazine therefore was an output of amalgamated
titled Yorùbá Ronú (Yorùbá Think). Like a wild skills.
fire in the harmattan season, the media became Apart from the uniqueness of its production,
popular, celebrated and highly acceptable to the its acceptance also had a number of connotations.
masses particularly the middle class. It would be It promoted and projected the reading of Yorùbá
recalled that the Yorùbá theatre had gained a very language both at home and abroad as Ató ḳ a was
wide acceptance right from its birth on stage, so widely circulated in the northern parts of Nigera
this media was like an ice on the cake which and across the West African coast. It popularised
added pep to spice the Yorùbá theatre tradition. the Yorùbá language and its arts and culture as
Ató ḳ a photodrama was hitting the news-stand there were additives which supplemented the
every forthnight. All the leading Yoruba drama in the magazine such as Ìtàn àròsọ (prose
dramatists and their companies were participating
in its productions. The long list included the late
* Clement Adeniyi Akangbe, Ph. D., is a Senior Lecturer in the Department of Library, Archival and Information Studies,
University of Ibadan, Ibadan, Nigeria.
© AMCRON Journal of Communication and Media Research, Vol. 11, No. 1, April 2019, pp. 194 – 206
IBADAN UNIVERSITY LIBRARY
Akangbe: Production techniques of photoplay magazines 195
narratives), Ewì (poetry), Ọ̀ré  ̣ òkèèrè (pen pals), on theatre audience had increased significantly.
Ìròyìn kàyééfì (comic news), Àwòrán è f̣ è ̣ With the success of the thirteen weeks drama
(cartoons), Ìpolówó ọjà (advertisements), episode series which the Broadcasting
Agbò ṛ àndùn (general counselling), and Àǹtí Ayò ̣ Corporation of Oyo State (BCOS) experimented
(love counselling) in details. Ató ḳ a photoplay with Jimoh Aliu’s popular drama titled Àrélù in
magazine also enhanced literacy as many people 1986, many other stations followed. These
who were lackadaisical about reading joined adult television episodic drama series endeared people
literacy classes so as to be able to  and write at to electronic media thus luring them away from
least in Yorùbá language. As a matter of fact, the print media of Ató ḳ a. Perhaps the very last
reading Ató ḳ a was a status symbol as it became straw that broke the camel’s back was the home
fashionable to hold copies of the magazine and video that became a rave at the turn of the decade
posed with them. of 90s. It was a novel medium which removed the
Apart from the aforementioned, it provided a stress of reading and finally nailed the coffin of
ready and alternative source of entertainment Ató ḳ a photoplay magazine which ceased
particularly in the rural areas where access to production in 1991.
electricity, radio, and television was nil. It It should be remarked that apart from Ató ḳ a,
constituted an alternative source of income for the other photoplay magazines came up which
performing troupes as they were earning included́ Kàyéfì, Ìbùkún Aláwàdà, Ató ṇ à and
handsome royalty from sales of the copies of their Ató ḳ a Aláròyé. None of these however could
play productions.It was an image-booster for survive and make concrete social and economic
Yorùbá Theatre and it placed it far ahead of other impact as Ató ḳ a did.
theatre traditions in Nigeria and perhaps in Africa. In the quarter of a century that Ató ḳ a existed,
Indeed it kept the younger generation educated WABP produced a total of one hundred and
and informed about Yorùbá culture and history in twenty (120) volumes which numbered four
particular as lots of historical issues, happenings, hundred and thirty (430) editions. Without
and legendary personalities were used as dramatic mincing words, Atóḳ a photodrama was a noble
materials and weaved into dramatic action. publication and a significant index of a unique era
Ató ḳ a spanned over two decades. Its hay in the dramatic and entertainment life of the
period was the 1970s and 1980s.Towards the end Yoruba race.The production of photoplay
of the 80s however, its fortune started nosediving. magazine follows series of activities ranging from
A number of factors accounted for this. There manuscript sourcing and assessment to origination
was crisis of economy and the financial power of and design, rehearsal, location, performance and
the buyers had reduced considerably. Aside this, shooting, editorial and editing, transcription,
the cost of living had risen tremendously thus editing the dialogue, editing the pictures,
increasing the cost of production on one the one preparation of dummy, editing the proofs, and
hand, and reducing the level of patronage on the printing which are discussed in turn. The Ató ḳ a
other. Technological factor also quickened its production chart is produced in Figure 1.
demise. By the late 1980s, the impact of television
IBADAN UNIVERSITY LIBRARY
196 Journal of Communication and Media Research Vol. 11, No.1, April 2019
Ató ḳ a Production Chart
Production
Printing Marketing and Distribution
Origination Processes
Pre-press
Manuscript Sourcing
and Assessment
Press
Rehearsal
Post-press
Location
Performance
and Shooting
Editorial and
Editing
Fig. 1: The Production Chart of Ató ḳ a Photoplay Magazine
Source: Akangbe (2014:140) –“History, Production and Contents of Ató ḳ a Photoplay Magazine”.
Concept of Total Quality Management set of disciplines that are coordinated to ensure
Total Quality Management (TQM) as a concept is that the organisation consistently meets and
concerned with the scientific management of men, exceeds customer requirements’. To Richardson
materials and machines for the purpose of (1997), TQM ‘is a plan and strategy to extend
producing high quality products and services in an quality control efforts to every function of the
organisation such as book publishing company. Its company’. He went further to define each of the
main thrust is managing the entire organisation so individual terms. He said that ‘Total’ means that
that it excels on all dimensions of products and everyone participates and that it is integrated into
services that are important to the customer. Its all business functions, ‘Quality’ means meeting or
emphasis is on conformance quality, not features. exceeding (internal and external) expectation,
Total Quality Management owes its origin to the while ‘Management’ means improving and
work of an American, Edwards Deming, who has maintaining business systems and their related
been described as the “father of modern-day processes or activities. In the view of Milakovich
Japanese miracle” (Okunola, 2009:3). and Gordon (2001), TQM is “a management
Capezio and Morehouse (1995), in Akangbe approach that encourages organisation wise
(2016:77), define it as ‘a management process and commitment, teamwork and better quality of
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Akangbe: Production techniques of photoplay magazines 197
results by providing incentives to increase the total satisfaction. It is an effective method for
success of the enterprise”. Schoonover (1993) is attaining quality production in every operation in
however of the opinion that TQM is a philosophy particular, and the entire production processes as a
that focuses on improving customer and employee whole. Many of the previous studies reviewed on
satisfaction, as well as profitability. From the TQM were conducted in countries outside
foregoing, it is obvious that TQM uses a Nigeria. Even the few studies in Nigeria were not
combination of methods, theories, techniques and specific on periodicals and none on Yoruba
strategies for achieving exceptional quality. It photoplay magazine. This study is therefore
emphasises the crucial role of management and expected to fill this gap.
the judicious use of employees for achieving
world-class qualities. Origination and Design
Rigby (2009) adds a further dimension to the Origination and design is a broad aspect of
definition of TQM. He describes TQM as a publishing which encompasses manuscript
systematic approach to quality improvement that sourcing and development. It covers the series of
marries product and service specifications to activities carried out by different professionals
customer performance. He adds that TQM then until the manuscript is ready for press. It is a long
aims to produce these specifications with zero process that is coordinated and controlled by the
defects. This, he says, creates a virtuous cycle of editor and it is the kernel of publishing itself.
continuous improvement that boosts production, Production of photoplay magazine is a special
customer satisfaction and profits. He emphasised project in that its origination and design, in
that for TQM to succeed; there are certain addition to the basic publishing activities, also
obligations which managers must carry out. entails acting, voice recording and photography.
According to him, Managers must assess In other word, it is a product of three modal arts
customer requirements. This is necessary in order namely dramatic arts, photographic arts and
to understand present and future customers’ publishing arts. The production of Ató ḳ a
needs, and design products and services that cost- photoplay magazine therefore is both technical
effectively meet or exceed those needs. Apart and artistic. Voice recording, editing, dummy
from these, Managers must always deliver quality preparation, film processing, pre-press, press,
goods. This, he says, only happens if management and post-press constitute the technical aspects of
would pay attention to the following: the production while rehearsals, performance at
i. identify the key problem areas in the process location, photo-taking, etc. are the artistic
and work on them until they approach zero aspects. In line with the principles of TQM, all
defect level; these were done with consciousness for quality
ii. train employees to use the new technology; and consumers’ satisfaction.
iii. develop effective measures of product and
service quality; Manuscript is the basic raw material which a
iv. create incentives linked to quality goods; publishing company relies on for its production
v. promote a zero-defect philosophy across all (Okwilagwe, 2001; Àkàngbé, 2008; Ọsọ et al
activities; 2008). Basically, in conventional publishing, there
vi. encourage management to lead by example; are two types of manuscripts, namely: solicited
and and unsolicited manuscripts (Igudia, 2012). In
vii. develop feedback mechanisms to ensure photodrama, the manuscript is not a fully
continuous improvement. developed and comprehensive text as it is in book
publishing. Arising from the improvisational style
Obanya (2002) also identifies seven important of the Yorùbá dramatic tradition, the Ató ḳ a
aspects of TQM that must be considered before manuscript is sketchy; it is a synopsis of the story
attempting to implement TQM. These factors are line detailing the dramatis personae and the plot.
Customer-driven quality, TQM leadership from With the consciousness of the peculiar nature of
top management, continuous improvement, fast Ató ḳ a manuscript, we could talk of both solicited
response, action based on facts, employee and unsolicited manuscripts. At the very
participation, and imbibing a TQM culture. beginning, manuscripts were solicited. For
On the whole, TQM preoccupies itself with instance, the maiden edition of Atóḳa was the late
excellent production that will attract customers’ Hubert Ogunde’s Yorùbá Ronú which was
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198 Journal of Communication and Media Research Vol. 11, No.1, April 2019
followed by his Ológbò Dúdú.1 Ogunde was and tech as appropriate costumes and props would
specially approached by WABP for the be used. The essence of this was to familiarise the
manuscripts of those plays. When Atóḳa had editor and editorial crew with the performance.
become known however, reverse became the case. Prior rehearsals gave the opportunity for the
In fact at the apogee of Atóḳa, WABP had more theatre company to assemble its props (stage
than two hundred manuscripts in her kitty. properties) and costumes and also put them into
Practically, every performing company wanted to perfect use. Appropriate locations are essential to
be featured in Atóḳa which was the rave of the rehearsal and production.
moment. As Oyèwọle Olówómojúòṛé2̣ puts it, the Location is an actual place in which a drama
queue of manuscripts was so long that for two or a film is made. It is technically called setting in
years it might not get to the turn of some theatre drama. A particular location chosen for a scene in
companies. Some were even ready to have their drama becomes the stage for that piece of acting.
plays published for free. Location is determined by the story therefore
Ató ḳ a manuscript was a skeletal synopsis of location in Ató ḳ a photodrama can change
the play and its assessment was restricted to the frequently from market to Ọba’s palace, footpath,
in-house. Therefore, engagement of external village square, school premise, farm land,
assessors as in book publishing was not required. frontage or backyard of house, hospital, bus stop,
The critical indices of assessment were the quality sitting room, public street, church, mosque, forest,
of the story, entertainment potentialities, etc. as the story demands. As remarked earlier,
educational values and sales promise. A number location is the actual place, which is a specified
of manuscripts that fell short of standards were point or area in space occupied by actors and
outrightly rejected, while some others were actresses. However, the “actual place” in itself is
spotted for amendment. The good ones were neither complete nor totally suitable for
accepted to take their turns. performance if it is empty. It must be filled with
the required objects and materials to transform it
Rehearsal is a technical term in drama which into a setting. This technical transformation is
simply means a practice or trial performance of a carried out by scene designers. The designers are
play or other work (dance, music, etc) for later conscious of reflecting the theme, style, mood and
public performance. It is the act of practicing in atmosphere, locale, period or socioeconomic
preparation for a public outing or performance. In background of the play.
drama, rehearsal is an intensive session of In aiding understanding, the stage setting
practicing acting, movement, voicing, dance, may define the time and place of the action,
dialogue, etc. in private as a team in anticipation clarify the relationship of the offstage and onstage
of a successful public performance (Brocket, space, and help to establish characterisation. The
1979:520). physical arrangement of the setting may enhance
Rehearsal of plays for Atóḳa productions were understanding in addition to expressing a play’s
carried out by the individual performing company. unique artistic traits. A setting should clearly
The rehearsals usually took place at the depict the mood of the play. The locations in
company’s base. The editorial teams from WABP Ató ḳ a drama are diverse and numerous. While
were not involved at this stage. Scripts for Ajạgun Ńlá by Dúró Ladipọ for instance is partly
rehearsals were usually not written as it was the set in the town and partly in the forest (war
practice of the theatre practitioners, so scenes), Kó ḷ á Ògúnmó ḷ á’s È ḥ ìn Ọ̀la is completely
improvisation was the dramatic method. Each set in the town. Relevant locations were usually
actor and actress would have to interpret his/her employed in Ató ḳ a because of its dramatic
role, compose his/her dialogue, and invent his/her functionality which enhance the theme, aid the
actions and movements. Rehearsals were held structure, define the characters, and contribute to
repeatedly and regularly over a period of time to the overall total quality of the production. The
attain mastery and perfection. A performing task of finding locations was the responsibility of
company slated for production would normally be the theatre company however; their selections
notified by WABP ahead of performance and as were subject to the approval of the editor.
such it would intensify its rehearsals accordingly.
It was on the eve of performance that the Ató ḳ a Performance and Shooting: Performance is the
crew under the artistic directorship of Olótùú act of displaying, the carrying into execution or
(Editor) would watch the rehearsal in readiness action of a story for the consumption of the
for production. This could be regarded as dress audience. In the view of Akangbe (2014:125), it is
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Akangbe: Production techniques of photoplay magazines 199
an act of cooperative imagination which stems setting of the tape recorder to ensure optimum
from the script, aided by the director’s artistic performance otherwise the whole effort could be
conception of the script, actualised by the marred. Different demands were required of the
interpretation of that conception by the performers various collaborating participants for successful
(actors and actresses), singers, dancers, designers output. On the part of the actors and actresses,
and technical crew; to the audience perception of adequate projection and elaborated, indeed
the production. exaggerated action is required. Dramatic actions
The performance of Atóḳa plays was usually needed to be overblown so as to be vividly
laborious, intensive, and painstaking. It was also captured by the camera. Poor voice level would
time-consuming. It called for resilience and not register well on the tape and would cause
enduring commitment in that, as stated earlier, it hick-up at the transcription level. On the part of
was a combination of arts – dramatic arts, the editor, absolute concentration with mental
photographic art and publishing art. A typical alertness and physical involvement was required.
performance could last for days. The editorial He must pay attention to the dialogue, judge how
crew from WABP would arrive at the location a it matched the action put up by the performer and
day or two earlier to ensure that every preparation be particular about how expressive and elaborate
was intact. The team comprised the editor, the action was. For the camera man, correctness of
photographer, assistant photographer, a supporting gaze, precision of focus, exactitude of angles,
staff and the official driver; other people on accuracy of shots, and vividness of clarity were
location were members of the theatre company. necessary. These different professionals must
The editorial crew was usually armed with still order and deplore their input with oneness of
camera, tape recorders and sufficient batteries. At purpose and unified intention for good production
least two cameras were taken to location, one of the edition of the Ató ḳ a photoplay magazine.
black and white camera and one colour camera. This is in tandem with TQM’s demand on
Each camera, of course, would be loaded with the employee participation. As submitted by Obanya
compatible films while enough extra would be on (2002), a successful TQM environment requires a
reserve. Performance was not at one permanent committed and well-trained work force that
place, it shifted from one location to the other as participates fully in quality improvement
required by each scene of the play.  Also, the activities. Such participation is reinforced by
performance was not sequential as related scenes reward and recognition systems that emphasise
that required the same location were taken the achievement of quality objectives.
together to save time and the rigours of going to Hallmarks of performance at the locations of
and fro. In other word, later scenes could be taken Ató ḳ a production were frequent discontinuities,
before the early ones. The implication of this is interruptions and repetition of actions. Because of
that it called for great concentration and accurate the peculiarities of the photoplay media, it was
record-keeping on the part of the editor and compulsory to violate and disrupt the
indeed the crew. To achieve this, the Olótùú conventional dramatic flow of performance
served as the continuity officer who arranged the through constant breaks, pauses and repetitions to
scenes to be taken together on the same location ensure the desired result. This is because the
and monitored the sequence of performance and actors and actresses were not performing for a live
recording. So prior to commencement of audience but the readers at home who would
performance, the editor must have prepared his access and consume their performance through a
plan of action, intimated his crew members with different media entirely, not the stage, not live,
it, and instructed the actors and actresses on what but “dead” through print. It should be remarked
to do in order to save time and achieve a smooth that the frequent discontinuities were not counter-
performance. productive; rather, they were to ensure and
When performance kicked off, the editor who enhance effective final production.
doubled as the artistic director and the cameramen As Obanya (2002) submitted, TQM has a
must be at alert. The performance was primarily customer-first orientation; this implies that the
for the cameras and audio tapes. The tape recorder customer comes first. Therefore everything
must have been set and the moment action possible must be done to ensure a top quality
commenced the tape began to roll. 3 Adequate production that will satisfy customers. Customer
attentions must be paid to the operation and
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200 Journal of Communication and Media Research Vol. 11, No.1, April 2019
satisfaction is seen as the company’s highest careful selection and logical presentation of raw
priority. ideas in a standard and acceptable format which
In an attempt to attain this, actions could be permits evaluation, correction, cancellation,
halted to attain the projection level; it could be substitution, and rearrangement. In book
repeated to get the desired elaborated dramatic publishing, editing predates the birth of
action, it could also be to enable the photographer manuscript. As Igudia (2012) maintain, the
capture the right shot(s).Topical actions must operation of editing actually starts from the idea
necessarily be repeated so as to get the shots from conception stage and subsists through the
different angles and at different ranges. For manuscript birth, to content evaluation,
instance, a topical action which was a potential origination and design, copy-editing, proofreading
picture for cover illustration must essentially be and production stages. Even at production, the
captured and recaptured not only in black and pre-press, press and post-press, also require
white but also with colour camera. In photoplay, editorial vigilance. This is thus a pointer to the
greater emphasis is laid on pictures than fact that editing is an unending activity in a
expressions, dialogue are as a matter of fact publishing process just as its practitioner –
complimentary to pictures. In a good photodrama, (editor) is a constant player at every stage
the photographs alone could be ‘read’ by the (Emenanjo, 2010 and Okwilagwe, 2001).
reader and the reader would have a proper Editing photoplay magazine followed a laid
understanding of the play. A lot of responsibility down procedure. It involved transcribing the
therefore rested on the cameramen for a recorded dialogue from tape, editing of the
successful photoplay. transcribed text and editing of the pictures. It was
From the foregoing, it was obvious that the after this that a dummy of the publication would
job of a photoplay magazine editor required be prepared and passed to the lithography unit for
extensive creative and professional experience. the production of what could be called the galleys.
Exposure in drama production for radio or Thereafter, the galleys would be edited until it
television, knowledge of playwriting, directing became error-free and the Camera Ready Artwork
and acting, experience in editing and appreciable was obtained. In carrying out these series of
knowledge of printing and its techniques were operations, the editorial unit, the photography
required of a successful photoplay magazine unit, the paste-up artist unit, and the lithography
editor. In other word, the magazine editor is unit were all co-players.
different persons with varied skills rolled into one.
Photoplay was a precursor of film. Photoplay Transcription is the art of transferring recorded
gives a report of gesture while film presents the information from tape or its equivalent to paper in
gesture itself. Though the composition of written form. It is the conversion of oral
photoplay is technically cumbersome but its information to written form. It was the task of the
multiplicity is not as complex as that of film editor to write down the dialogues of the actor and
which entails 253 fields and professions.4 In film, actresses that were recorded on tape. It was the
camera sees and hears; it sees with the ear and dialogue that formed the text of the play so the
hears with the eyes (Ekwuasi, 2002:  88 - 90). editor was careful enough to capture the dialogue
Nonetheless, photoplay is creatively ingenuous as of each performer. Transcription is a very
still photography is produced in the guise of demanding task as it is quite slow and
motion picture. painstaking. It also entails a lot of tape rewinding
On the whole, performance and shooting of to ensure and confirm correctness of data. Clarity
photoplay is a tripartite and simultaneous process of voices and audibility are essential for accurate
as acting, recording and photographing all take transcription. The quality of tape and of course
place at the same time under the able watch and soundness and efficiency of the tape recorder
control of the editor. It should be noted that all the itself are all paramount to good result. Failure at
expenses on location was usually borne by the transcription level, possibly due to bad tape or
WABP. poor tape recorder performance, of course,
portends failure for the production in general. In
Editorial and Editing Ató ḳ a, the transcription was carried out by the
Editing is the professional operation of technically assistant editor who in turn made a report to the
preparing a manuscript for publication. It is an act editor. This was done in-house after returning
and art of selecting, arranging and presenting a from the location. This is followed by editing of
written piece in a readable form. Editing entails dialogue.
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Akangbe: Production techniques of photoplay magazines 201
the selected photo-shot that would determine its
Editing the Dialogue: This is carried out by the own dialogue, the tape-recorded dialogue may not
editor. Dialogue editing is a careful and thoughtful match the photograph perfectly so the editor must
process of selecting right expressions to match willy-nilly intervene with a matching dialogue. It
pictures to build a play. It is a critical exercise is therefore the responsibility of the Olótùú with
which entails re-arrangement of the structure, his editorial liberty to compose suitable dialogue
outright elimination and substitution of for each photo-shot. In doing this, he employed
expressions. According to Ogundeji, it is also three devices which we called ‘editorial
possible for the editor to alter or even reconstruct interventions’. These editorial interventions are
the dramatic dialogue to suit his own purpose, Speech balloons, Thought bubbles, and Cap
though this is applicable to all print media prints. The employment of these three editorial
(1981:9). Usually, the dialogue recorded was devices served as the main anchor of the editorial
long, lengthy, and at times, watery, verbose and photo-dramaturgy in Atóḳa photoplay magazine;
winding. It was the duty of the editor to perform a and they constituted the unique distinguishing
linguistic surgery on such dialogues by features of Yorùbá photoplay magazine genre
summarising them in rich and concise language. from other periodicals.
This is because by nature, photoplay does not
tolerate lengthy expressions. As stated earlier, in Editing the Pictures: Photograph is primary and
photoplays, photograph is of greater essence, basic, it is the most vital component of photoplay
dialogue is merely complimentary. This is magazine. Editing the pictures is of great
particularly so because page extent of a photoplay importance because the story is summarily told in
edition was 32 pages, including all other pictures. The pictures therefore account for the
embellishments apart from the drama content, so plotted sequence of the story. It is from it that the
needless waste of words with repetitions and actions or events that are organised in lineal
undue wordiness did not arise. sequence that make up the plot are presented by
As a matter of fact, the dialogue of photoplay the editor and read by the audience. This exercise
depends a lot on the creative ingenuity and precedes and determines the dialogue. It also
linguistic competence of the editor as the long determines characterisation because character
expressions recorded on location became formation and development hinge on it. While the
reasonably fragmented and logically summarised editor is not necessarily writing the story anew,
in the hands of the editor who must, in addition to his creative ingenuity, imaginative prowess and
his multi-talents, be a wordsmith in his right. It is sense of artistry will be required to synthesise and
evident that the editor enjoyed a limitless liberty sew the pictures together like pieces of clothes to
as regard the composition of dialogue, among make an organic creative garment.
others. This prompts Ogundeji (1981: 8 – 9) to The editorial unit, including photographer,
submit that the editor can interfere with the paste-up artist and lithographer, are all role
structure of the play and may decide to even players in the production of pictures. The editor,
change the title of the play. He cited the example who is the equivalent of artistic director and
of Oyin Adejọbi’s Èkùró ̣ Ọlój̣à which was photographer who is like the cameraman in film
published under the title Ènìyàn Ṣòro; Ìtó j̣ ú Kúnlé usually work hand-in-hand. The photographer
published as Ẹsè  ̣ Màlúù and Ilé tí a fi itó  ̣ mọ as takes the shots while the editor calls for the shots.
Àṣírí tú. Àkàngbé (2005: 74) also remarked that Several pictures are taken at locations and all of
Lérè Pàímó’̣s play titled Ìdájó ̣ as a stage play also them would be developed in the dark room into
became Olúèṣan in Atóḳa. Bólú Fátúnmiṣe negatives. WABP had its own photo laboratory
corroborated also that the editor might change an where negative film treatment and development
initial title to make it more catchy and sellable. He were handled.  The pictures, at this stage, are in
cited the example of the title Ẹni tó pa Ajá small passport-like sizes. After developing the
Abó ḍ ẹrìn which he changed to Ajá Oníwèé Àṣẹ5 films, the bright negative films would then be
The production of Ató ḳ a entailed a serious selected by the editor for the photographer to
editing as regard composition of dialogue. The print. The selected ones would be printed in black
voice recorded, it must be noted, was not and white in that negative size which was
transcribed and utilised verbatim by the editor; passport-like. This is technically called ‘contact
rather it was a guide for him. Also, since it was print’. 6
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202 Journal of Communication and Media Research Vol. 11, No.1, April 2019
A contact print is an unenlarged photograph. cartoon, etc. Each of these would be catered for in
It is a photographic print made by placing a the dummy.
negative directly on top of photosensitive paper The second step in dummy preparation is to
and exposing it to light. The essence of contact prepare the dialogue. Having selected and pasted
print is to check the images on a roll of film the pictures, the matching dialogue would be
before making enlargements from individual prepared. The dialogue is composed by the editor
negatives. Contact prints are the initial print-outs who would look at each picture and match them
meant for generating the galleys of Ató ḳ a. At the with the right dialogue which has been partly
advanced editorial stage, the working sizes of the derived from the audio-tape and partly from the
photographs would be printed in the final creative intellect of the Olótùú. Usually, each
production sizes. picture would be numbered on the dummy and
The criteria for selection are technical. each corresponding dialogue would also be
Brightness, clarity, sharpness and relevance of matched with the right picture through numbering.
action are considered. All these qualities are Also, the desired size of each picture would be
important for top-quality production in press. indicated on the dummy. The dummy would now
When the editor and his team are satisfied with be given back to the photographer who would go
the selection, he will now prepare a 32-page back to the dark room and reprint on the sizes
dummy which was the normal size of an edition indicated while the dialogue already composed by
of Atóḳa. Thereafter, the dummy would be given the editor would be given to the typist to be typed
back to the photographer with the desired size of out neatly.
each picture to be reprinted in the dark room in When the pictures have been printed to the
the sizes indicated. As for the dialogue which had desired sizes indicated and the dialogue also typed
been composed for each photo-shot by the editor, out, the stage is set for the third level of operation
it would be given to the typist who would type in dummy preparation which takes place in the
them out. Art Room. It is the editor who dictates the
production sizes. The sizes are indicated by in-
Preparation of Dummy: Dummy is the replica or house terminologies like A1, A2, A3, A4, etc.
prototype of a publication. It is a temporary and Cardboard are cut into different sizes and labelled
make-believe copy. It serves as a guide in as A1, A2, A3, A4, etc. 7 The pictures and
production. According to The Chicago Manual of dialogue would be merged and printed on bromide
Style, “Dummy is an unprinted or partially printed in the Art room. Bromide is a light-sensitive
or sketched sample of a projected book, photographic paper that is coated with silver
pamphlets, book cover or other material to suggest bromide emulsion. This copy could be regarded as
the appearance and size of the completed work. the first galley. It is the first detailed print out. The
Dummy pages are frequently arrangements of cut- bromide copy would be given back to the editor
and-pasted galley proofs with representations of for editing. He edits on bromide with pencil.
illustrations paste in place (1993:839). Bromide is thicker than paper. All errors found on
In Ató ḳ a photoplay magazine, to prepare a it would be marked out clearly with pencil on the
dummy, the pictures must have been selected bromide and would be handed over to the typist
from the whole lot of pictures printed out. Based again who would retype to eliminate the errors
on qualities of brightness, clarity and sharpness, spotted. From the typist, it would be passed to the
the desired pictures are selected for layout. Layout Art Room where the artist would print out the
is the physical arrangement of texts and graphics improved version on the bromide. The second
on a page in preparation for printing. An edition printout is the second galley. The editor would
of Atóḳa contains thirty-two pages; the editor edit the second galley again to ascertain the level
would set all the materials page by page. The of perfection. Thereafter, it would go to the typist
pictures selected for each page would be pasted. A the third time and from there to the Art Room for
page could take between two and six pictures a third print out which the editor would vet again.
depending on the sizes assigned to each picture. It This movement to and fro could be up to three or
is only on the front page where the first half of the four times depending on the enormity of errors in
page carries introduction or preambles of the story the manuscripts. As earlier indicated, each of the
that we may find one photo-shot occupying the print out is called galley in publishing, galleys are
second half. In dummy preparation, the editor succeeded by page-proofs which is a copy that is
would leave space for additives (àfikún) such as almost ready for press while the very final copy
advertisement, poem, story, pen-pals, counselling, for the press is called camera ready copy (CRC).
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Akangbe: Production techniques of photoplay magazines 203
This is the final version which would be taken to (2008: 243), are principally categorised into three
the lithographic section for pre-press activities of which are pre-press, press and post-press.
filming and plate making. Pre-press is the first stage in printing
In editing the proofs, the editor dots all the processes. It has two stages which are filming and
‘i’s and crosses all the ‘t’s. He corrects all errors plate-making. There are two types of films –
of spellings and punctuation. He checks the negative and positive. At the time of Ató ḳ a
correctness and appropriateness of all expressions however the use of computer was not in vogue so
and measures the relevance of dialogue to picture only negative film was used. Films are made from
and also judges the action of the pictures with the the camera ready copy (CRC) which is passed to
words. Another area of attention for the editor is the lithographic session while plates are made
the picture size. Each page of Atóḳa takes a from films (Ifeduba, 2004:88 - 89; Okunola
maximum of six pictures.8 Other pages can take 2009:25).
five pictures, four pictures, three pictures and two
pictures. The formation of a six-picture a page is Press implies mass printing of a publication from
3.8 x 3.5 inches all through while in five pictures plates on a printing machine. The printing plate
a page, the formation is 3.8” x 3.5” in four places developed by the lithographer is handed over to
and 7.5” x 3.5” once. For a four-picture a page, the machine operator who would fix it on the
the formation is 3.8” x 5.1” in four places while printing machine having been satisfied with its
that of three-pictures a page is 7.8” x 5.5” in one quality. The operator also applied ink and water as
place, and 4.9” x 3.8” in two places. For a two- appropriate before printing would commence.
picture a page the formation is 7.8” x 5.3” each. It Before printing, paper must have been loaded on
should be noted that the figures above were not the machine. The operator must be careful by
strictly rigid as there could be a minor shift in the performing his task efficiently. He must neither
sizes at times but such changes were very over-apply water and ink nor under-apply them.
insignificant. Over-application of ink would lead to scumming
The editor must be conscious of the and blotting and if it is insufficient, the prints
topicality of the action in a photograph in would fade and appear faintly, thus messing up
assigning size to it. A very topical action for the job (Okunola, 2009: 12; Smith 1990).  In the
instance cannot be printed in 3.8” x 3.5” which is same vein, if water is not sufficient, the ink would
the least size. Such picture can either take 7.5” x be very thick on the machine and would not print
3.5” which is the medium size or 7.8” x 5.5” as expected. The operator must also ensure perfect
which is the largest size. On the whole, the editor registration of colours and maintain neat printing
worked on galleys, marked corrections, and all through.
checked corrected copies. He applied the house The printing of an edition of Ató ḳ a was done
styles consistently on the manuscript by enforcing within a week by Academy Press (AP), the sister
the house rule on abbreviations, capitalisations, company of WABP. The minimum print-run was
copyright permission, etc. He also adhered to the 60, 000. This figure was for plays produced by
house rule on the sequence of the contents by up-coming theatre companies but for the
following the established structural sequence of frontliners, the impression was between 80, 000
the magazine in detail. and 100, 000. 9
Printing Post-press comprises the concluding activities in
This section is discussed under three sub-headings printing. These concluding activities are called
which are pre-press, press, and post-press. finishing. These are folding, collating, sewing,
Pre-press is the very foundation of printing which binding, trimming, checking and repair, and
basically entails film making and plate making. wrapping or packaging and delivery (Okunola,
Printing is a technical process of reproducing texts 2009:13). Folding is the mechanical reduction of
and images on machines for mass consumption the large printed sheets to the actual book size.
typically with ink and paper using a printing Folding is done per section. A section contains
press. It is a process of duplicating a copy of multiple pages with texts and images on its front
publication en mass with the aid of printing and back. Collating is the putting together of the
machines. It is a process that involves several sections of a publication sequentially to make a
stages. These stages, according to Togunwa complete copy. Binding is a technical and detail
IBADAN UNIVERSITY LIBRARY
204 Journal of Communication and Media Research Vol. 11, No.1, April 2019
process in post-press. Binding are of various types and varied skills. Findings showed that Yorùbá
depending on the size of the publication and the photoplay magazine was a fusion of dramatic arts,
type of binding desired (Okwilagwe, 2001; photographic arts and publishing arts. Its complex
Ifeduba, 2004). Saddle stitching is a simple and sophisticated production was also a melting
process of fixing pins at two or three points in a pot of different specialisations and disciplines.
booklet or pamphlet. This is usually for light These arts are playwriting, acting, voice
publications such as magazines, pamphlet, recording, photography, transcription, editing,
programme of events, bulletin, newsletter, etc. typesetting, filming, platemaking, and printing.
Adhesive binding are for books of sizeable Therefore, a copy of the magazine was an output
volume. This can be of two types: perfect binding of amalgamated arts and skills. Apart from these,
(hot-melt glue) and cold glue which is usually its production was also technical and artistic.
manually applied. Spiral binding and comb Technical aspects of production  entailed voice
binding are simple mechanical types of binding. recording, editing, dummy preparation, film
Hard cover or case binding is a more technical processing, pre-press, press, and post-press while
and multi-process form of binding. Its process rehearsals, performance at location, photo-taking,
includes forwarding, casing-in, fixing of boards etc. were the artistic aspects. In conformity with
and cloth, stamping and printing. the tenets of TQM, all these activities were carried
In the case of Atóḳa, a simple binding method out with consciousness for top quality and
– stitching – was employed with two stitching consumers’ satisfaction.
points: one on top and the other below. After From the study, it was deduced that Ató ḳ a
stitching, trimming followed. Copies of the was able to survive for a quarter of a century as a
magazine were taken to the cutting machine, result of its dynamic history, sophisticated
which is also called guillotine, for trimming. After production, multifaceted and culture-sensitive
trimming, checking and repair would be done contents, and heterogeneous contexts. The
where required. Checking is a careful scanning of magazine therefore ably promoted Yoruba
each copy page by page to detect pages with literacy, reawakened societal values, popularised
defamation such as unevenness of ink, blotting, theatre organisations, offered alternative media of
dirtiness, poor registration, etc. Such pages would commerce, and served as prelude to the home
be removed and a good copy would be used to video tradition.
replace it. After this, wrapping and delivery would In conclusion, this paper has examined in
follow. detail the production processes and strategies of
From the foregoing, it is obvious that TQM Ató ḳ a photoplay magazine. It has been established
principle was observed in every stage of Ató ḳ a that the periodical was a product of conflated arts
photoplay magazine production. As a matter of as it is a melting pot of different specialisations
fact, each unit of the company was involved in and disciplines. It was also established that the
TQM and each was operating as a customer to the staff of Ató ḳ a, particularly the editors and
other. This was corroborated by Akangbe photographers, were critical factors in the
(2016:95) in his study on “Total Quality development and production of the photoplay
Management in Pre-Press: A Study of Book magazine. The creativity and ingenuity of Olótúù
Printers in Ibadan, Nigeria”, that “the lithographer (Editor) was praise-worthy as he brings his
acts as a customer to the press operator, while the literary and creative acumen to bear on the
press operator serves as a customer to the book- contents and production of Ató ḳ a photodrama.
binder. The quality of the plate produced by the Like a northern star, the professional presence and
lithographer determines the quality of print output input of Olótùú is vividly constant at every stage:
by the press operator. If stripping and printing manuscript acquisition, rehearsal, location,
operations are not carried out correctly, the performance and shooting, editing of dialogue and
folding at the binding stage will not be correct. pictures, transcription, dummy preparation, and of
This could be forestalled if every staff at the course; at the pre-press, press and post-press
different level of production acts as customer to stages of printing.
each other by being critical”.
End Notes
Discussion 1. The maiden edition of Atóḳa was the late
The production of Atóḳ a photoplay magazine, Hubert Ogunde’s Yorùbá Ronú which was
from the foregoing, was no doubt a complex one. followed by his Ológbò Dúdú. The
It was a three-modal arts, with multiple experts, manuscripts of the two plays were requested
IBADAN UNIVERSITY LIBRARY
Akangbe: Production techniques of photoplay magazines 205
by WABP from the theatre company. All the University of Ibadan, Ibadan.
editors interviewed confirmed this. Akangbe C.A. (2008). “Indigenous Language
2. Mr. Oyèéwọle Olówómojúòṛé ̣ revealed this Publishing and Editorial Challenges: A Case of
to the researcher in the interview he had with Yoruba Language in Nigeria”. Journal of Publishing,
him on 1st July, 2007 at his Àkóbò  ̣ residence Information and Mass Communication Vol. 6 No 1
in Ìbàdàn. & 2 January & June, 2008 pp 90 – 102.Àkàngbé, C.A. (2014). History, Production and
3. The research finding shows that the use of Content of Ató ḳ a Photoplay Magazine. An
tape recorder began during the tenure of Mr. Unpublished Ph.D. Thesis, University of Ibadan.
Láoyè Egunjọbi, the second Ató ḳ a editor. (341 pages)
Mr. Ṣég̣ un Ṣófọwó ṭ è ,̣  the maiden editor, told Akangbe, C. A. (2016): Total Quality Management in
the researcher in the course of an interview Pre-Press: A Study of Book Printers in Ibadan,
that he did not use tape recorder during his Nigeria. International Journal of Humanities and
tenure. Social Science Vol. 6. No. 4. April: 91 – 100.
Akangbe, C. A. and Okunola, T.O. (2016): Total
4. This was gathered by the researcher in the Quality Management in Press and Post-Press: A
course of a personal discussion on photoplay Study of Book Printers in Ibadan, Nigeria.International Journal of Humanities and Social
versus film media he had with Dr. Hyginus Studies Vol. 4. Issue 7. July: 72 – 81.
Ekwuasi in his office, Department of Theatre Capezio, P. & Morehouse, D. (1995). Taking the
Arts, University of Ibadan on Tuesday misery out of TQM: A practical guide to total
18/02/2014. quality management 2nd ed. Franklin Lakes NJ:
5. ‘Adé Ọmọ Awo’ Bólú (Ọba Adébólú Career Press.
Fátúnmiṣe) revealed this in an interview with Ekwuasi, H. (2002). A new Approach to Screenplay.
the researcher on 4th August, 2008 at The Jos: National Film Institute.
Roots International Hotel, Ilé-Ifè .̣ Emenanjo, E. N. (2010). Editing and Writing. Aba: E-
6. Pa. Abímbádé Ọládèj̣ọ made this Frontier Publishers Nig. Ltd.
clarification on 20th June, 2013 in his house Igudia, O. E. (2012). “Asessment of the roles of theEditor in Book marketing and Sale” in
in Lagos during an interview.
th Ajibola, A. S. Book Publishing in Nigeria:7. Pa. Abímbádé Ọládèj̣ọ also stated this on 20 Contemporary Issues Volume 1. Ibadan:
June, 2013 in his house in Lagos during an Manifold Grace Publishers, pp. 28 – 42.
interview. Ifeduba, E. (2004). Book Publishing: Principles and
8. Our finding shows that each page of Atóḳa Practice. Lagos: Management Science
takes a maximum of six pictures with the Publishing.
exception of Yorùbá Ronú which did not Milakovich, M. & Gordon, G. (2001). Public
have a definite structure, and this of course administration in America, 7
th ed. Belmont.CA:
was understandable being the very first Wadworth group/Thomas learning.
production. The number of pictures that a Obanya, P. (2002). Total quality management as acredo in book production. Ibadan: Codat
particular page can take is determined by the publication.
sizes of the pictures in question. Ogundeji, P. A. (1981). The Plays of Oyin Adéjọbi: An
9. Pa. Láoyè Egunjọbi, the second editor of Introduction. Unpublished M. A. Project,
Ató ḳ a photoplay magazine made this Department of Linguistics and African Languages,
revelation on Wednesday 7th October, 2009 University of Ibadan, Ibadan.
at his residence in Aáwé ̣ in Oyo State. Okunola, T. O. (2001). Quality control in lithographic
presswork. Technews 1.2, 28-30.
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