Abstract

This study applies Victor Turner’s Social Drama theory to examine the political and social themes of the film King of thieves (Agẹṣinkólé), produced by Anthill/Euphoria 360. A multi-step method involving repeated viewings of the film, content analysis, and in-depth interviews with a purposive sample of film critics and the main producer of the film King of thieves (Agẹṣinkólé) is employed. This approach systematically identifies and interprets the visual and narrative components of the film’s use of supernatural elements as a metaphor for the consequences of political corruption and subversion of traditional narratives. The study shows art defies conventional principles, embracing diverse elements to preserve its unique essence and complexity. It finds an attempt to convey moral lessons and social commentary to educate both the political elite and the public. The implication of this study is that Nigerian filmmakers should engage in extensive historical research to enhance the accuracy and impact of their narrativization.

Key Words: Agẹṣinkólé, Supernatural Elements, Corruption, Film, Nollywood

About the Author

* Mobolaji Opeyemi Orimolade, Ph.D., is a Lecturer in the Department of Broadcasting, Faculty of Communication and Media Studies Ajayi Crowther University, Oyo, Oyo State, Nigeria. She is interested in Media Studies, Indigenous Communication, and Development Communication.

^JCMR Journal of Communication and Media Research, Vol. 17, No. 1, April 2025, pp. 221-230.

© Association of Media and Communication Researchers of Nigeria (AMCRON).

Article Citation

Orimolade, M. O. (2025). King of thieves (Agẹṣinkólé): A representation of corruption, supernatural, and traditional forces. Journal of Communication and Media Research, 17 (1): 221-230.

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