Creative deployments of settings/locations in selected Yoruba films Ola-Koyi Nnu Ejije: A Journal of Theatre and Media Studies, Vol. 3, N0. 1, 2021 31 Creative deployments of settings/locations in selected Yoruba films S. Joseph Bankola Ola-Koyi Department of Theatre Arts University of Ibadan 08038126789 Sundayolakoyi05@gmail.com Abstract In the exploration of the creative deployments of settings/locations in selected Yoruba films, the theoretical framework is guided by a Structuralist film theory. The study examines four ways of set manifestations on screen under: pre-existing set/location; studio/constructed set; computer generated image (CGI)/animated set and the combination of any two or all the three identified types of setting. This study further diagnosis with practical demonstrations/examples, the issues of a realistic set, a stylistic locale; an abstract set or a fictitious decor first, before analysing the varieties of settings featured in selected Yoruba film screens. As a result, the following types of setting are critically examined: overwhelm setting, setting reduced to nothingness, unrealistic settings, revolving setting, mobile/fluid setting, colour influenced setting, model size setting, props setting/setting serving as props, and motivational setting /setting serving as motif. Base on the foregoing scrutiny on the sets/locations/decors in Yoruba film screens, the study therefore recommends that each of these components of the set could be deployed as yardstick in evaluating the effective usage or otherwise of locations/settings in any given narrative film especially Nollywood films. Keywords: Décor, locations, settings, structuralist theory,Yoruba films Introduction In exploring the creative deployments and the various forms of the settings/locations in selected Yoruba films, this exercise is guided by structuralist film theory. Basically, this film approach believes that a movie is not just a mere film flickering in the silver screen of a cinema house but a much broader reflection of the daily life of every individual of all ages, ranks and race and of every single person in all aspects of life. In ruminating on the theory and definition of structural/materialist film, Peter Gidal (1978, p. 1) opines that, “The structuring aspects and the attempt to decipher the structure and anticipate/recorrect it, to clarify and analyse the production-process of the specific image at any specific moment, are the root concern of Structural/Materialist film.” It is also on record that, “The structuralist film theory emphasizes how films convey meaning through the use of codes and conventions...” (Structuralist Film Theory). In other words, structuralist film theory usually emphasizes how films could be perceived as a whole or in part in order to convey meaning through the use of these codes and conventions or dissect the various components of a film system in order to understand how each parts of a film system contributes to the telling of the story and the success of a narrative cinema. As it is with any human language which could be dissected into different parts in order to study how languages are used to construct meaning in communication so also various