The Aesthetics of Power: Cinematographic Construction of the Big Man

This study examines the aesthetics of power through an analysis of cinematographic techniques used to construct the figure of the Big Man in The Rise and Fall of Idi Amin. Grounded in formalist film theory, the study foregrounds cinematography as a central site through which authority, dominance, and political power are visually produced and sustained in film. Adopting a qualitative descriptive research design, the study employs purposive sampling to select the film as a representative text in which the Big Man is prominently foregrounded. Data was collected through repeated observation and visual analysis of the film, complemented by document analysis of relevant scholarly literature. Using interpretive textual analysis, the study systematically examined cinematographic elements such as shot size, camera angles, lighting, and mise-en-scène, focusing on how these techniques shape audience perception of the Big Man. The findings reveal that cinematography functions not merely as a technical device but as an aesthetic strategy that magnifies authority, naturalizes hierarchy, and centres the Big Man as a visually commanding presence. The study contributes to film and cultural studies by demonstrating that power in cinema is actively constructed through visual form. By foregrounding cinematography as a performative and aesthetic mechanism of power, the study offers insights into the visual politics of leadership and authority in African cinema.