The Nigerian film culture is the background against which this examination of the theory of film acting is done. This film culture's peculiar relationship to the stage makes the stage referrential in two crucial respects. The first of these is in using mise-en-cadre and montage/editing, two basic structural elements in the mosaic of filmic construction, in working out the possibilities and limitations of the film medium. As regards mise-en-cadre, three essential correlates are deleanated: the physical relationship between the camera and the actor; the issue of point of view; and the frame as a crucial factor in the composition of the visual imagery and in the interpretation of the role of the actor. The other significant area in which the stage becomes referrential is in isolating the basic requirements for effective film acting.
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