Camera based scanning techniques

Representations in the movies that have been discussed above all toe the line of narrative that paints a picture of migration in a way that makes it seem as a sure path to overcoming poverty in Nigeria and gaining all the beautiful things that money can bring. These goodies range from having social influences to possessing certain powers that having control of huge sums of money can bring. Migration also have been represented in the movies as an escape from objective diligence and the systemic laws of economic logic that still guarantees unimaginable success and material rewards. The Billionaires all the same is not different.

Migration in the movie is used as a shade, a cover up for social miscreants whose pursuit of wealth and materialism pushes them to the edge. Though the movie leads the audience into the

open secrets of both the protagonists and the antagonist and reveals them as avaricious ritualists, the representations of migration in the movie still pushes forward a narrative that brings to bare the lopsided perceptions of migration by most Nollywood filmmakers. Ezekwueche is a young man who nurses the ambition of climbing the wrung of social leadership in his community. In doing that, Ezekwueche needs money to force social acceptability. As a result, he indulges in spiritual manipulations and rituals in order to have abundance and wealth. However, having such wealth demands an explanation that will have some level of credibility. In other to construct a convincing explanation that won‘t spur suspicion and betray him as a villain who makes material benefits by sacrificing his family, he credits his wealth to have come from his sojourn in Malaysia. Thus with the explanation of his money being made abroad, all inquisitiveness as to the source of the wealth naturally disappears. Thus the director imbues Ezekwueche with his desired perspectives of migration, the demeanors and mannerisms of a Malaysian mogul returnee. By so doing, Ezekwueche is not portrayed in his reality as a ritualist but a returnee Malaysian mogul interested in the politics of his local community. Thus the pictures of migration and experiences of a migrant returnee are painted in the movie through the character of Ezekwueche. In line with the dominant approach of narrating migration in Nollywood, Ezekwueche is presented as a money mogul who has acquired unlimited wealth abroad. Once more, car convoy, armed bodyguards and a hype man who perpetually sings his eulogy become part of the realities with which migrant returnees are indentified. The signification is affluence, power and pleasure which are products of his sojourn abroad. Thus, the local audience is once more inundated with a narrative monotony that configures their idea of migration and makes it a vision, a dream and an ideal path for economic emancipation. Ezekwueche is rich and bold and has his way with everyone in the community. Thus with his money, he achieves the impossible

and arrogantly intimidates others into allowing him have his way. The following is the conversation between him and Chime.

Ezekwueche: How much do I give you so that you kill your dreams of becoming king of Agbara kingdom?

Chime: O nya ka anaegbuluojaniile a? Ikaebukwunuigede wee bia ka amalununaibiaraije. (Is that the reason for this funfare? Maybe you should have brought a band along to demonstrate your seriousness). If I heard you very well, ifeinaekwubu ego one igaenye m ka m wee were ezeluumnyegi, oburoya? (You are asking how much you want to give me so that I relinquish my rights to the throne)

Ezekwueche: yes

Chime: Igbanii (You tried). You see in this kingdom, kingship is not for sell and it is not our tradition. Even if it is for sell I will not sell mine.

Ezekwueche: (To his bodyguard) Get the brief case, open it and show him the content. I understand your situation chief Chime, I understand that you are poor, very poor. And because of that I have made arrangement to fix you. In the brief case is ten million naira, take it and leave the throne for me.

Chime: Ten million naira? You have tried. But I want you to understand, very like you said but I will not sell my crown for all the money in the word. Not after all the centuries my family has waited. It is not possible

Ezekwueche: Imarokwa ka m sikwado (You don‘t know prepared I am for this) More so, the characters of Akpaka and Victor are treated similarly. Though the two brothers have not passed through the borders of the country, the claims of being Malaysian migrant returnees also helps endows on them the status in the eyes of the public. Thus in other to live up to the claim, the director just like in Ezekwueche‘s case endows in them his notions of migration which once more toes the line of narrative that has become the dominant representation of migration and its accompanying experiences in Nollywood. ThusAkpaka comes back very rich

that he could afford to throw dollar notes around. The way and manner with which he is introduced by the director furthers the image of migration as the answer and a break from poverty. Once more exotic cars and armed bodyguards are used as codes for the representation of migrant returnees. The signification is power, wealth and over whelming social influence. On his return he announces the overwhelming wealth to his brother Victor and asks him to handover every of his belongings including his shop and apartment to his apprentice.

Victor: Who are these people? What did you do? They want to arrest you?

Wait….

Akpaka: No no Vic, these are my guys, they are my body guards. I can‘t owe anybody. In fact the people that owe me they should keep the money. This is Akpakana Malay

Victor: Akpakana Malay?

Akpaka: Too much money

Victor: You are looking good. Let‘s go somewhere now and discuss. (To his apprentice) Oya close my shop…. Lock the shop

Akpaka: No nono, use the shop the key and everything in it to settle him.

Victor: I should settle him?

Akpaka: give it to him. Let him take it. Even you apartment give him the key to your apartment and everything in it. E jim ego, I have money

Through Akpaka and Victor, the director continues the single narrative of migration and presents only the allures and attractions while neglecting the gory that most times characterize migration most especially in situations where it is irregular. The director paints the picture of untold affluence and wealth. In line with Ervin Goffman theory, a media producer eliminates choices by presenting only that which he wants the audience to see. Espousing this thought, Ardèvol-Abreu‗s opines that, ―Frames draw attention to some aspects of reality at the expense of

others…‖ (424). The director in the film builds frames of migration that are selective and lack the option of a comparative balance. Thus the three migrant figures Ezekueche, Akpaka and Victor are wealthy and wield overwhelming influence as a result of their wealth. Thus by induction, the audience builds a surreptitious image of migration that as well lacks the contrast to balance the realities of migration. Akpaka and Victor in their bid to challenge Ezekwueche throws money notes around and engage in flippant spending that make them the attention of the whole community. They gift cars, houses and money in abundance to all those who are willing to listen to their course. Chief Kalu reports to Ezekwueche thus:

Akpakanamalay and his brother Viki naKualar Lumpur are now the topic in the kingdom. They bought the house of Chief Ogbuke‘s son that stays in America.

They sprayed money from morning till night the day they came back. They even went as far as giving dollars to the neighboring villagers, they said their money can never finish and that their money is too much for one kingdom to enjoy alone.

This is the kind of narrative with which migration has been stereotyped with; Wealth, women, drinks, social followership and flamboyancy. Malaysia in the movie is very significant in the sense that it has been used to signify wealth and affluence. Thus, migration to Malaysia just like in OzoemenaOzubulu is sure path to money. Akpaka uses Malaysia in a symbolic representation of departure from poverty to wealth. He tells his brother Victor that he will take him to Malaysia

‗where the dignity of men are restored‘. This is the picture that best describes the representation as made in the movie. Akpaka advices his brother Victor thus:

We are going back to that village to take over that kingship but before we do that I will take you to Kuala Lumpur. Kuala Lumpur is very close to Bengala Jaya and Suban Jaya where the dignity of men is restored. I will take you there.

Thus, the for the filmmaker, migration is the key to the restoration of human dignity initially soiled by poverty and the many frustrations that faces the common man in Nigeria. This in effect shows the reason for the lopsided narrative that runs through the whole of the movie.