Journal articles: 'Nigerian films'

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Onuzulike, Uchenna. "Audience Reactions to the Different Aspects of Nollywood Movies." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 87–104. http://dx.doi.org/10.5195/cinej.2016.137.

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This article juxtaposes two audiences-Nigerians in Nigeria and Nigerians in South Africa in order to ascertain how they perceive favorite aspects and disliked aspects of Nigerian movie productions, popularly known as Nollywood. The results indicate that the two groups favor the depiction of Nigerian/African cultures over other themes; yet, Nigerians in South Africa disfavor the reality of Nollywood movies. The disliked aspects of these films were repetition, poor quality and the supernatural. Grounded in reception analysis and mirroring McLuhan’s hot-cool model, the analysis indicates that the quality of Nollywood movies impacts how audiences decode the movies. Findings suggest that for those living outside of Nigeria, nostalgia leads them to seek movies that allow them to escape into a Nigeria that never was.

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Ezejideaku, Emmanuel, and Esther Nkiru Ugwu. "Igbo English in the Nigerian video film." English World-Wide 30, no. 1 (February 17, 2009): 52–67. http://dx.doi.org/10.1075/eww.30.1.04eze.

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This paper examines the use of Igbo English, one of the ethnic varieties of Nigerian English, in the Nigerian video film. By Nigerian video film, we mean video films produced in, and/or about Nigeria in English as opposed to those produced in Nigerian indigenous languages which are variously known as Igbo video films, Yoruba video films, or Edo video films, among others. The data for this study come from a random selection from video films produced in Nigeria between 2003 and 2006. In all the films studied, it is observed that Igbo English is essentially the medium of communication. Igbo English is one of the three major ethnic varieties of Nigerian English and is characterized by the fact that, while the vocabulary is mostly English, the sentence pattern is essentially Igbo. The choice of Igbo English as the medium for the films seems to be part of the efforts by the producers to retain, as much as possible, the “Nigerianness” of the films, which inevitably have to be produced in English to accommodate the international audience. This study observes that Igbo English, as used in the films studied, manifests itself in four forms: Igbo English proper, composed of English vocabulary in Igbo sentence structure; Engligbo, a form of code-mixing that is almost a fifty-fifty blend of English and Igbo; translation, in which Igbo idiomatic and other rhetorical expressions are transferred literally into English; and errors induced by the influence of the mother tongue (Igbo) on English.

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Hanmakyugh, Teddy Thaddeus. "Ritual culture phenomenon in Igbo films: a study of Money is Money." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 374–85. http://dx.doi.org/10.4314/ejotmas.v7i1-2.25.

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Film as a means of communication is a very potent instrument for image making, cultural diplomacy, propaganda, education, information and entertainment. The Nigerian film industry (Nollywood) ranks among the first three top world filmmaking industries in terms of the quantity of productions, popularity amongst Nigerians and the transnational audiences. Culture is the bedrock of Nollywood’s thematic film expositions. One can, therefore, conclude that Nollywood is Nigeria’s cultural ambassador. Although Nollywood films are quite potent in celebrating and promoting Nigerian cultures, some of these films have come under thematic criticisms as they glamourize negative, ritual themes in the name of culture. It is against this backdrop that this article examines the occult ritual of cultural phenomenon in Prince Emeka Ani’s Money is Money (2005) and the negative image it portends for Nigeria globally. The film depicts Andy (Kanayo O. Kanayo), an Igbo youth who deploys occult means as an instrument for making money even at the cost of his life. This paper uses content analysis and literary methods as tools to interrogate the preponderance of the occult themes in Nollywood movies. The findings show that Nigeria has several acceptable cultures as raw materials that could positively portray Nigeria’s cultures globally. However, the unceasing preoccupation with “juju”, the relentless celebration of dark rituals and diabolical cults could make viewers cultivate the perception of reality portrayed by these films. Money is Money celebrates the non-attractive side of Nigeria. Therefore, it is recommended that the Nollywood film professionals tell the global audience acceptable culturally based value themes about Nigeria. Keywords: Igboland, Ritual culture, Nollywood film professionals, Igbo film, Nigerian cultures

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Jell-Bahlsen, Sabine, and Jonathan Haynes. "Nigerian Video Films." International Journal of African Historical Studies 32, no. 2/3 (1999): 618. http://dx.doi.org/10.2307/220469.

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Mustapha-Lambe, Kayode, and Eno Akpabio. "Nollywood Films and the Cultural Imperialism Hypothesis." Perspectives on Global Development and Technology 7, no. 3-4 (2008): 259–70. http://dx.doi.org/10.1163/156914908x370683.

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AbstractFrom the viewpoint of the cultural imperialism hypothesis and its complications, the overall aim of this study was to find out if foreign films still had a stranglehold on Nigerian audience members. The findings indicate that a majority of respondents watch and have a favorable attitude towards Nigerian home video films. However, in terms of preference between local and foreign films, a small percentage indicated preference for the former. The study concludes that the high quality of production of American films accounts for the favorable views held by respondents, even though it is apparent that these and other foreign productions no longer have a captive market in Nigeria.

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DIOP, Samba. "Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen." Communication, Society and Media 3, no. 1 (December 12, 2019): p12. http://dx.doi.org/10.22158/csm.v3n1p12.

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Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerians. Local languages are used in these films; however, English is the most prominent, along with Nigerian pidgin broken English. Many themes are treated in these films: tradition and customs, religion, witchcraft and sorcery, satire, urban and rural lives, wealth acquisition, consumerism, etc. I discuss the ways in which American popular culture is adopted in Nigeria and recreated on screen. Nigeria and USA share Federalism, the superlative mode, and gigantism (houses, cars, people, etc.), and many Nigerians attend American universities. In the final analysis, the arguments exposed in this paper highlight the multitude of ways in which Nigerians navigate the treacherous waters of modernity and globalization.

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Emelonye, Obi, and Françoise Ugochukwu. "Exploring the diasporan dimension of Nollywood – a conversation with Obi Emelonye." Issue 1 1, no. 1 (June 12, 2018): 41–51. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a3.

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Obi Emelonye, born on March 24, 1967 in Port-Harcourt (Nigeria), settled in London in the 1990s. A prolific film producer and director with a passion for excellence, he has greatly contributed to the professionalization of the Nigerian cinema in diaspora. A graduate of Theatre Arts from the University of Nigeria, Nsukka, with a Law degree from the British University of Wolverhampton, he turned to film production and direction after a short spell as a lawyer. He has since secured international distribution for most of his films, which treat a variety of contemporary subjects, and is now recognised as a truly international leader in the profession. In this personal interview dated August 23, 2018, he offers a panoramic view of his films and reveals the professionalism, passion and hard work which characterise his production and endeared his films to both Nigerian and international audiences.

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Ogheneruro Okpadah, Stephen. "Queering the Nigerian Cinema and Politics of Gay Culture." Legon Journal of the Humanities 31, no. 2 (January 28, 2021): 95–110. http://dx.doi.org/10.4314/ljh.v31i2.4.

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The advocacy for gayism and lesbianism in Nigeria is informed by transnational cultural processes, transculturalism, interculturalism, multiculturalism and globalisation. Although critical dimensions on Lesbian, Gay, Bisexual and Transgender (LGBT) are becoming recurrent subjects in Nigerian scholarship, scholarly works on LGBT, sexual identity and Nigerian cinema remain scarce. Perhaps, this is because of indigenous Nigerian cultural processes. While Chimamanda Adichie, a Nigerian novelist cum socio-political activist, campaigns against marginalisation and subjugation of gays and lesbians and for their integration into the Nigerian cultural system, numerous African socio-cultural and political activists hold a view that is dialectical to Adichie’s. The position of the members of the anti-gay group was further strengthened with the institution of stringent laws against gay practice in Nigeria by the President Goodluck Jonathan led government in 2014. In recent times, the gay, bisexual, transgender and lesbian cultures have been a source of raw material for filmmakers. Some of the thematic preoccupations of films have bordered on questions such as: what does it mean to be gay? Why are gays marginalised? Are gays socially constructed? What is the future of the advocacy for gay and lesbian liberation in Nigeria? Although most Nigerian film narratives are destructive critiques of the gay culture, the purpose of this research is not to cast aspersion on the moral dimension of LGBT. Rather, I argue that films on LGBT create spaces and maps for a critical exploration of the gay question. While the paper investigates the politics of gay culture in Nigerian cinema, I also posit that gays and lesbians are socio-culturally rather than biologically constructed. This research adopts literary and content analysis methods to engage Moses Ebere’s Men in Love with reference to other home videos on the gay and lesbian motifs.

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Umukoro, Olaoluwa Elsie, Damilola Felix Eluyela, Emmanuel Ozordi, Ofe Iwiyisi Inua, and Sheriff Babajide Balogun. "Nollywood Accounting and Financial Performance: Evidence From Nigerian Cinemas." International Journal of Financial Research 11, no. 2 (March 16, 2020): 271. http://dx.doi.org/10.5430/ijfr.v11n2p271.

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The main aim of this study is to discover what influences the financial performance of a given Nollywood film in Nigerian cinemas. We hypothesize that social media, filmmakers and friends influences financial performance of Nollywood films in Nigeria. In order to achieve this objective, we adopted survey research design methodology via the use of google forms to generate 530 copies of questionnaire between November 2018 and January 2019. Using resource dependency theory, we find out that social media, filmmakers and friends are major determinant of Nollywood financial performance in Nigeria. We recommend that filmmakers should embark on more social media campaigns and adverts in order to generate more revenue and profit for their films.

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Adesokan, A. "Practising 'Democracy' in Nigerian Films." African Affairs 108, no. 433 (July 17, 2009): 599–619. http://dx.doi.org/10.1093/afraf/adp044.

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Tade, Oludayo, and Okoro Paul Mmahi. "Movie Piracy Networks at Alaba International Market, Lagos, Nigeria." International Journal of Offender Therapy and Comparative Criminology 62, no. 1 (February 15, 2017): 274–85. http://dx.doi.org/10.1177/0306624x17692208.

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This study examined the veiled chain of film piracy, a major crime in the Nigeria entertainment industry. Studies on film piracy in Nigeria have focused on its economic implications, both on the copyright owners and on the Nigerian economy. The organization of the activities of the film pirates has, however, been neglected. Narratives were extracted through in-depth interviews with pirates, “marketers,” and “producers.” Data indicated that pirates were insiders in the film marketing industry and included importers of foreign movies, registered and nonregistered retailers of Nigerian films, as well as marketers appointed by copyright owners to distribute their films. With the connivance of sales girls working with the copyright owners and dubbing companies, original copies of films (white face) are “procured.” Pirates distributed pirated copies, also secretly known as “green face,” without issuing receipts or putting the logo of the company on it. For security reasons, pirated films are sold only to buyers introduced by a member in the piracy network. Efforts aimed at fighting piracy must take into account this veiled network to effectively combat intellectual theft via aggressive ban on the public sale of such products.

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Ibagere, Elo, and Osakue Stevenson Omoera. "The Nigerian Film Plot." Matatu 48, no. 2 (2016): 435–49. http://dx.doi.org/10.1163/18757421-04802012.

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The Nigerian film industry, otherwise known as Nollywood, has been acknowledged to be the second-largest in the world in terms of volume of production. This fact presents an interesting vista worthy of investigation, especially with regard to the quality of the films produced. It is in respect of this premise that this article examines the plot of the Nigerian film—a feature capable of affecting the popularity of the film. The essay, having dwelt on what plot is, critically examines the Nigerian film plot and finds that Nollywood films mostly adopt an episodic structure, thereby making them unnecessarily long. Besides (and this is systemically related to episodic structure and to a natural tendency in Nigerian rhetoric), many of the films tend to be too wordy, too chatty, over-padded, thus often earning them scathing criticism. The challenges of scriptwriting in this regard are examined, culminating in recommendations for how to improve the quality of scripts through plot construction in this vibrant film culture.

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Dipio, Dominica. "Religion in Nigerian Home Video Films." Westminster Papers in Communication and Culture 4, no. 1 (February 1, 2007): 65. http://dx.doi.org/10.16997/wpcc.74.

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Haynes, J. "Political critique in Nigerian video films." African Affairs 105, no. 421 (October 1, 2006): 511–33. http://dx.doi.org/10.1093/afraf/adi125.

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Ekpe, Bassey, and Joseph Akpabio. "‘New Normal’ and Gendered Violence in Nigerian Film Space." Tripodos, no. 50 (July 1, 2021): 75–89. http://dx.doi.org/10.51698/tripodos.2021.50p75-89.

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Arguably, film is the most magical form of storytelling. It is that genre that is most similar to our dreams; a place where a lot of possibilities abound. In the case of Nigerian films, there is little or no holding back as creativity and imagination are often interlaced with biased and unbiased social constructs. This study considers ‘New Normal’ as the current thematic preoccupation of Nigerian films to trivialise women’s rights and promote abuses. This phenomenon is contextualised as intrusive narratives which are now present as a discomforting trope underscored by subtle and at times brash episodes in Nigerian films. Based on the theoretical framework of symbolic annihilation and objectification, salient mentions of existing (or comparative) thoughts on gender, violence and filmic presence are examined. These contentions are justified through content analysis with the adoption of coding schemes that frame the forms and results of violence in the films studied. It avers Nigerian film space as a gendered platform that inspires flights of fancy, violence, sexual depravity and mental grossness through its treatment of violence related subjects. It concludes that Nigerian films promote an inconspicuous attitude where the interest of the man often defines the destiny and functionality of the woman.

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Ugochukwu, Françoise. "Nigerian languages and their impact on the diasporic reception of Nigerian films." African Renaissance 14, no. 3/4 (September 17, 2017): 113–28. http://dx.doi.org/10.31920/2516-5305/2017/v14n3_4a8.

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Ibbi, Andrew Ali. "Stereotype Representation of Women in Nigerian Films." CINEJ Cinema Journal 6, no. 2 (April 25, 2018): 49–70. http://dx.doi.org/10.5195/cinej.2017.166.

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The stereotype representation of women in Nollywood films has attracted criticisms from the society with feminists clamoring for a review of the way women are projected. This study looks at the various issues associated with stereotype representation as a concept in film. The Feminist Media Theory was used as supporting theory for the paper. Part of the recommendations for the paper is the need for research to be properly conducted on the society before screenplays are written, to avoid misleading the public.

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Agina, Añuli. "The Niger Delta in Nigerian video films." Critical African Studies 5, no. 2 (June 2013): 79–91. http://dx.doi.org/10.1080/21681392.2013.815054.

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Larkin, Brian. "Indian films and Nigerian lovers: media and the creation of parallel modernities." Africa 67, no. 3 (July 1997): 406–40. http://dx.doi.org/10.2307/1161182.

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AbstractThis article discusses the significance of Indian films in revealing a relatively ignored aspect of the transnational flow of culture. The intra-Third World circulation of Indian film offers Hausa viewers a way of imaginatively engaging with forms of tradition different from their own at the same time as conceiving of a modernity that comes without the political and ideological significance of that of the West. After discussing reasons for the popularity of Indian films in a Hausa context, it accounts for this imaginative investment of viewers by looking at narrative as a mode of social enquiry. Hausa youth explore the limits of accepted Hausa attitudes to love and sexuality through the narratives of Indian film and Hausa love stories (soyayya). This exploration has occasioned intense public debate, as soyayya authors are accused of corrupting Hausa youth by borrowing foreign modes of love and sexual relations. The article argues that this controversy indexes wider concerns about the shape and direction of contemporary Nigerian culture. Analysing soyayya books and Indian films gives insight into the local reworking and indigenising of transnational media flows that take place within and between Third World countries, disrupting the dichotomies between West and non-West, coloniser and colonised, modernity and tradition, in order to see how media create parallel modernities. Through spectacle and fantasy, romance and sexuality, Indian films provide arenas for considering what it means to be modern and what may be the place of Hausa society within that modernity. For northern Nigerians, who respond to a number of different centres, whether politically to the Nigerian state, religiously to the Middle East and North Africa, economically to the West, or culturally to the cinematic dominance of India, Indian films are just one part of the heterogeneity of everyday life. They provide a parallel modernity, a way of imaginatively engaging with the changing social basis of contemporary life that is an alternative to the pervasive influence of a secular West.

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Aniukwu, Nkemakonam. "Nollywood and the leaders of tomorrow: interrogating film content and character formation of the Nigerian child." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 59–79. http://dx.doi.org/10.4314/ujah.v20i3.4.

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The intellectual discourse on the influence of films in shaping a child’s ideological leaning is a topic that has generated interest in different parts of the world. The supposed proposition that inapt behaviours, nonchalant attitudes, moral decadence, and violence among children are outcome in most films produced in Nollywood Film Industry calls for serious examination. Hence, to examine the effects which film contents could have on educational development and character formation of a Nigerian child remains the aim of this study. Objectives include; to ascertain the potentials of films content in creating a standard for good leadership skills for the Nigerian child, and to advocate possible ways through which Nollywood movies can be produced to achieve all round development of the Nigerian child. The study through the adoption of observation, and content analysis approaches of qualitative research method, evaluated the influence of films on children. The study utilized George Gerbner’s Cultivation theory in examining the influence of film environments in child’s learning and leadership skill and found out that most Nollywood films have themes of Mischief, adult chauvinisms, hatred, demonic possessions, and violent politicking, among other social vices which pose serious threats to the child’s ideal leadership purview. The researcher therefore recommends, establishment of a film unit that should provide adequate censorship of children films. The unit should be empowered to sieve, dissect and scrutinize all children film contents in Nollywood Film Industry so as to make sure that the filmmakers produce films relevance to the academic and character formation needs of Nigerian children. Hence, children are the leaders of tomorrow.

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Olayinka, Alawode, Sunday, Adesanya, Oluseyi Olufunke, and Agboola, Olufunsho Cole. "National Symbols as Commemorative Emblems in Nigerian Films." European Scientific Journal, ESJ 14, no. 2 (January 31, 2018): 100. http://dx.doi.org/10.19044/esj.2018.v14n2p100.

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Nigerian films worldwide are the entertainment offerings of the nation, a burgeoning industry with steady increase growth rate and contributing substantially to the GDP of the nation. National symbols are objects, entities and relics representing an idea, concept, character that may be physical, abstract, religious, cultural, and linguistic among others in a sovereign context and beyond. Symbols or objects that connected together may not have anything in common in reality but by association and common agreement, they have come to represent each other in social contexts; a symbol may arbitrarily denote a referent, icon and index. In the case of Nigeria, the National flag, Anthem, Pledge, Currency, language, Coat of arms, National institutions like the National Assembly complex, Federal Capital Territory (FCT), images of past leaders, historical monuments like the Unknown Soldier (representing military men who died in the cause of protecting the nation), dresses are some of these national symbols. Apart from commemorative historical functions, national symbols are also used to represent hard work, credibility or truthfulness, as well as ethnic differentiation, religious affiliation, cultural background, social status, professional orientation, class distinction among others. Theorizing with Gate-keeping and Framing Analysis, this study adopts a content analysis design which is the study of recorded human communications, an objective and systematic analysis of the contents of any document that are manifest. It is often used to investigate the level of presence of a given content in mass communication. The study selected thirty video films between 2010 and 2015 through a systematic sampling with a random start. Content categories include genre of film, type of symbol, setting of symbol, purpose of symbol, cultural implication of symbol, positioning of symbol, symbiotic relations, prominence, and direction of presentation among others. The study presumed that the nation is replete with communicative, symbolic emblems commemorating historical, cultural, religious, social and family landmarks in nationhood but that these items of symbols are minimally represented in the films that stand as cultural products and identity of the nation in the international community. Findings of the study have dire implications for the critical assessment, representation and image or identity of the nation for the past, present and the future.

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McCain, Carmen. "Video exposé: Metafiction and message in Nigerian films." Journal of African Cinemas 4, no. 1 (August 1, 2012): 25–57. http://dx.doi.org/10.1386/jac.4.1.25_1.

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Jell‐Bahlsen, Sabine. "Civilization, wilderness and secrecy: Making two Nigerian films." Visual Anthropology 13, no. 4 (January 2000): 363–93. http://dx.doi.org/10.1080/08949468.2000.9966809.

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Balogun, Lekan. "Poetics of mnemonic strategy : the art of adaptation and the spirituality of being & things in Tunde Kelani’s Saworoide and The Narrow Path." Issue 1 1, no. 1 (June 12, 2018): 53–74. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a4.

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This essay utilises two different but related concepts: “poetics and politics of literary memory” by Lars Eckstein and “adaptation” by Linda Hutcheon, to examine Yoruba narrative convention, characterisation and the “spirituality of Being and object(s)” in two films, Saworoide (1999) and The Narrow Path (2006), by the Nigerian filmmaker, Tunde Kelani, who has distinguished himself as one of the leading contemporary Nigerian and African cinema icons and storytellers. The essay argues that as one of the most significant voices in Nollywood, the history of film and cinema in Nigeria and beyond, Kelani has not only turned the adaptation of materials from page to screen into an art and a veritable source of history, he has also shown ways in which the process functions as the recollection of the fading glorious past of his race. In order to achieve its aim, the essay is divided into two parts: the first part examines the cultural and political considerations of memory and the aesthetics of adaptation in relation to Kelani’s body of works, and the second part discusses the two films by drawing from arguments that are developed in the first part.

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Chinyere, Nwankwo, Madeleine, and F. N. Nnajiofor. "Entrepreneurship Education: A Veritable Tool for Employment Generation Among Faculty of Education Graduates, Nnamdi Azikiwe University, Awka, Nigeria." Advances in Social Sciences Research Journal 8, no. 8 (September 5, 2021): 678–89. http://dx.doi.org/10.14738/assrj.88.10697.

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The study examined entrepreneurship education (EE) as a veritable tool for employment generation among Nigerian graduates. A survey research design was used for the study. The population of the study was all the 987 final year students of faculty of education 2019/2020 academic session in Nnamdi Azikiwe University, Awka, Nigeria. Stratified sampling technique was used to select 10 % of students in each department, making a total of 99 students who constituted the study sample. The instrument for data collection for the study was a 31-item researcher-constructed questionnaire divided into four clusters. The instrument was validated by experts and tested for reliability using Cronbach’s alpha which yielded a reliability index of 0.71. Mean and standard deviation were used to analyze the Data. The findings of the study showed among others that the method and techniques of teaching EE in Nigerian universities is not adequate. Based on the findings, recommendations were made which included among others that government should strive to adequately fund EE and provide functional EE centers in every Nigerian University.

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Endong, Floribert Patrick C. "Nollywood in Cameroon: Transnationalisation and Reception of a Dynamic Cinematic Culture." CINEJ Cinema Journal 6, no. 2 (April 25, 2018): 129–43. http://dx.doi.org/10.5195/cinej.2017.175.

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The Nigerian film industry (Nollywood) has phenomenally exploded to the extent of affecting audiences and social institutions in various African countries. In Cameroon particularly, various indications suggest that the industry is positively received, despite the persistence of perceptible anti-Nigerian and nationalist feelings among sections of the country’s audiences and communities of cinema ideologues. Using empirical understandings, observations and secondary sources, this paper seeks to explore how the Nollywood phenomenon is manifested and received in the Cameroonian market. It precisely examines the various indexes of Nollywood presence in the country which can be seen in (i) the place Nollywood films have in television broadcast in the country, (ii) the extent to which Nollywood films affect local cinema production in Cameroon and (iii) Cameroonian audiences’ attitudes towards Nollywood films and actors.

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Josson, Cyprian. "The reception of films in Nigerian languages in France." African Renaissance 14, no. 3/4 (September 17, 2017): 99–112. http://dx.doi.org/10.31920/2516-5305/2017/v14n3_4a7.

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Arthur, Tori. "Nollywood Afrogeeks." International Journal of E-Politics 7, no. 3 (July 2016): 49–64. http://dx.doi.org/10.4018/ijep.2016070104.

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Viewing Nigerian film, known as Nollywood, in online platforms provides African immigrants living in the United States with digital spaces to engage with the African continent through films with relatable Pan-African themes. Nollywood on social media sites (YouTube and subscription services IrokoTV, Amazon, and Netflix) marks the Nigerian film industry as a transnational participatory movement that enables immigrants to use the technology at their disposal to watch and comment on films, connect with their cultural values, and become a part of a global digital community of dispersed Africans and African descended populations. Thus, immigrants become a part of a Nollywood focused digital diaspora, a cultural space that illuminated the plurality immigrants negotiate on and off the continent.

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Ugwu, Agozie. "The Pragmatics of Film Language and Sentence in the Creation of African Myths in Nigerian Movies: An Evaluation of Obi Emelonye’s The Mirror Boy." Nile Journal of English Studies 2, no. 3 (December 22, 2016): 3. http://dx.doi.org/10.20321/nilejes.v2i3.95.

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<table border="1" cellspacing="0" cellpadding="0"><tbody><tr><td colspan="3" width="618"><p align="center"> </p></td></tr><tr><td width="168"><p align="center"> </p></td><td width="265"><p align="center"> </p></td><td width="186"><p align="center"> </p></td></tr><tr><td colspan="3" valign="top" width="618"><p>African myths or mythological reality of African extractions is one major source of raw materials the Nigerian movie industry popularly called Nollyword explores as an avenue for generating content for their films. Mythological realities like the appearance of the dead, re-incarnation, potency of the gods, life after death, the communion between the living and the dead and many more often times are represented in the Nigerian movies. Art evidently is a representation of the people’s culture. It is also a vehicle through which the people’s culture is driven. Myths are part of African culture and their efficacy in the preservation and sustenance of Nigerian culture appears to be the reason why the representation of mythological reality in Nigerian films has become a recurring decimal. It appears that the representation of mythological reality in Nigeria movies is yet to attain a level where the audience will be submerged into the world of the myths. This is because the potential audience has a consciousness and a preconceived idea of how these characters should be represented due to the archetypal nature of mythical characters. The audience should not through these representations have doubts over the potency of the African and Nigerian myths. To achieve this level of reality in the depiction of mythological reality, this chapter advocates for a pragmatic utilisation of the film sentence and language. The Mirror Boy released in 2011 a film by Obi Emelonye is used as case study to establish the roles of film language and sentence in the representation of mythological reality.</p></td></tr></tbody></table>

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Sunday Olayinka, Alawode,, and Sunday, Uduakobong. "Home Video Films and Grassroots’ Relevance in Nigerian Political Process." IOSR Journal of Humanities and Social Science 19, no. 1 (2014): 01–08. http://dx.doi.org/10.9790/0837-191100108.

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AKINOLA, O. O., and A. A. OGUNSANYA. "CONSTRUCTION OF EROTIC NUANCES ON WHATSAPP AND BBM BY NIGERIAN STUDENTS." Journal of Humanities, Social Science and Creative Arts 13, no. 1 (November 8, 2019): 1–13. http://dx.doi.org/10.51406/jhssca.v13i1.1925.

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WhatsApp and BBM are popular instant messengers among Nigerian youths, particularly those of tertiary education age. Both applications are used by different shades of people across both genders as means to achieve different end. This study investigates how both apps are used in the construction of erotic conversations. The study is exploratory in nature and is intended to sketch initial understanding from different pictures painted by individual participants. Consequently, semi-structured interview of the qualitative method was used to extract responses from 20 participants, 10 each from both genders. All participants were drawn randomly from National Diploma (NDI) students of Mass Communication Department of Lagos State Polytechnic, Isolo Campus, Nigeria and year three and four students of Mass Communication Department of Olabisi Onabanjo University Ago-Iwoye, Nigeria. Findings revealed that for technical, operational and financial reasons, participants prefer WhatsApp to BBM. Majority of their erotic experiences occur on WhatsApp, involving, largely, chat buddies they have physical familiarity with. Also, most of the participants received more of nude, sexually explicit pictures of a chat buddy at some point in their erotic chat experiences in addition to pornographic films and sexually charged voice notes.

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Abiodun, Dr Temitope Francis, and Marcus Temitayo Akinlade. "Recurrent Waves of Jailbreak in Nigeria: The Imperatives of Prison Intelligence and Dynamic Security Strategies in Managing the Nigerian Correctional Facilities." Advances in Social Sciences Research Journal 8, no. 5 (May 23, 2021): 229–50. http://dx.doi.org/10.14738/assrj.85.10185.

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This paper painstakingly addresses the phenomenon of rising waves of prison or jailbreak in Nigeria. And as generally observed according to the dictates of Nigerian law, jail or prison break remains an illegal or unlawful act under which a prisoner forces his or her way out of the prison in a state. This phenomenon of jailbreaks has in one way or the other impacted negatively on the society and posed dangerous threats to national peace and security. The paper in its objectives endeavours to: highlight the series of jailbreaks that have taken place in Nigeria and the various techniques employed by the escapees; interrogate the causal factors of jailbreaks in the country; and also examine the roles of prison intelligence and dynamic security in curtailing the menace. The study makes use of the regulatory capture theory to explain the bane of the phenomena while descriptive and content-analysis techniques are adopted. With the aid of primary and secondary data, the paper is able to reveal that; corruption, ineffective Correctional Service Arms Squad and Intelligence Unit, lack of prison intelligence and dynamic security, among others have weakened the Nigerian Correctional facilities’ security and led to incessant jailbreaks in Nigeria. The paper, however, recommended; putting in place a very sensitive nature of prison information and intelligence; establishing a prison intelligence management board; adopting a multi-agency approach security strategy; and training of prison-based intelligence officers for intelligence gathering and information sharing as strategies of curtailing the rising spate of jailbreaks in Nigeria.

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Ukah, Asonzeh. "ADVERTISING GOD: NIGERIAN CHRISTIAN VIDEO-FILMS AND THE POWER OF CONSUMER CULTURE." Journal of Religion in Africa 33, no. 2 (2003): 203–31. http://dx.doi.org/10.1163/15700660360703141.

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AbstractPentecostalism in Nigeria is increasingly altering the way that those who are attracted in large numbers by its practices and resources perceive their relationship with local culture and material goods. One of the practices of Pentecostalism that has captured popular imagination is the production of Christian video-films. This paper discusses how these popular narratives negotiate both the local worldview and the cultural marketplace. It argues that the rhetoric of Pentecostalism as portrayed in locally produced video-films is implicated in changing consumer tastes and behaviour. Although this type of Pentecostalism speaks the language of traditional worldviews in terms of the emphasis on occultism, it is harnessed to a project of westernised system of commodity consumption.

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Haynes, Jonathan. "A bibliography of academic work on Nigerian and Ghanaian video films." Journal of African Cinemas 4, no. 1 (August 1, 2012): 99–133. http://dx.doi.org/10.1386/jac.4.1.99_7.

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Ibbi, Andrew Ali. "Subtitling in the Nigerian Film Industry, Informative or Misleading?" CINEJ Cinema Journal 4, no. 1 (July 13, 2015): 47–61. http://dx.doi.org/10.5195/cinej.2014.100.

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Subtitles are captions displayed at the bottom of a cinema or television screen that translate or transcribe the dialogue or narrative. Nigeria and indeed Africa should be a major beneficiary of the subtitles considering the number of ethnic groups in the continent. The emergence of different film industries in countries around Africa has helped in showcasing Africa to the international community. Hence, subtitles came in handy, considering the fact that most viewers cannot understand the language with which the movies were produced. This paper explores the battle for meaning by English subtitles to movies produced in African languages especially the Nigerian film industry. The paper will look at the Hermaneutic Theory of Mass Communication to buttress the relevance of deriving meaning out of movie subtitles. The Hausa and the Yoruba film industries are the subjects of this study because of the large viewership they enjoy by people even outside Nigeria. The research came up as a result of the persistent errors which I have noticed while watching Yoruba and Hausa films with subtitles. Subtitles convey a summary of the dialogues taking place in a movie. Viewers who cannot understand the language used for the dialogue rely on the subtitles to make meaning out of the movie. If they are unable to make meaning out of the subtitles because of some inadequacies as a result of carelessness in the process of production, the aim of having the subtitles is defeated.

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ADAMS, DR JOHN ANYABE, EFEFIONG ASUQUO EDET, and MICHAEL R. ITAM. "Airpower in Counterinsurgency: Analysis of the Nigerian Air Force’s Response to The Boko Haram Insurgency in the Northeast." Advances in Social Sciences Research Journal 8, no. 6 (July 2, 2021): 302–10. http://dx.doi.org/10.14738/assrj.86.10177.

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This paper examined the role of airpower in counterinsurgency with particular focus on analyzing the Nigerian Air Force’s response to the Boko Haram insurgency in the north-east. The paper adopted the documentary method and sourced data from mainly secondary sources. The Nigeria Air Force ’s operations against the insurgent group commenced in 2010, as part of the armed forces operations within the purview of the Joint Task Force. It was found out that in spite of the significant contribution made by the Nigeria Air Force , there still are challenges to Nigeria Air Force ’s counterinsurgency efforts. Firstly, Nigeria Air Force faces logistical problems such as a dearth of spare parts, shortage of precision-guided ammunition, and inadequate trained personnel that can operate and maintain sophisticated war weapons. Secondly, there is a paucity of systems to initiate and maintain a systematic kill-chain that will encompass searching for the adversary, maintaining intelligence, surveillance and reconnaissance presence over them, and subduing them and obtaining data for purposes of analysis. It was recommended, among others that for the Nigeria Air Force to be more effective in the northeast operations, there should be increased spending on purchasing more modern platforms and weaponry that are pliable in contemporary air power considerations.

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Uzuegbunam, Chikezie E. "Oppositional gaze or revenge? A critical ideological analysis of foreignness and foreign identities in Nollywood feature films." Catalan Journal of Communication & Cultural Studies 13, no. 1 (April 1, 2021): 121–39. http://dx.doi.org/10.1386/cjcs_00042_1.

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The media, including popular media such as music and films, often generate conversations about different spectrums of society. Due to an overabundance of imagery and sounds from the media, including television, film, advertising, social media and the internet, audiences are constantly bombarded with stereotypes and ideologies about other races and identities. As an exponentially growing popular culture industry, Nollywood – the Nigerian movie industry – positions itself as a source of knowledge and popular discourse about issues emanating from the continent and other places. With this growth, Nollywood seems to have been given a spot in the political circle of identity politics, giving it the power to represent the ‘Others’. This study interrogates the theme of identity construction in African films by focusing on the ways in which some select Nollywood films of the early and late 2000s and early 2010s frame and construct foreign races and foreign societies, using critical ideological analysis and the framework of critical race theory. Representations and portrayals of difference in the analysed movies could be serving some ‘revenge’ of sorts, transgressing age-long representations of Black people in Blaxploitation films. The multiplex representations as seen in the analyses serve the primary purpose of such stereotypes: to reproduce and to reaffirm prejudices that over time become naturalized and normalized. The study thematically specifies the significant use of labels, stereotypes and certain orthodoxies that aim to frame and characterize foreign societies in popular Nigerian films and suggests some broader implications of the findings.

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Ezepue, Ezinne Michaelia. "From Living in Bondage to Queen Amina: An Aesthetic Evaluation of Contemporary Nollywood." SAGE Open 11, no. 3 (July 2021): 215824402110326. http://dx.doi.org/10.1177/21582440211032620.

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The history of the Nigerian cinema remains a popular discourse in scholarship. However, one phase in the history of its emergence and development remains more prominent and dominant over others—the video boom era. While some scholars discuss this with appreciation of the doggedness and determination of its players, some are condescending, even condemning as the industry is mirrored against the professionality and remarkability of renowned industries especially Hollywood. This negativity has persisted, warranting that some industry players distance themselves from the sobriquet, Nollywood, which has come to stand for the Nigerian video and film industry. This study takes up the call from industry players for scholarship to re-evaluate and redefine the contemporary Nollywood whose history as well as industrial activity has gone beyond the video boom era. Beyond discussing factors that are currently reshaping Nollywood, this study uses two select films and data collected via interviews with over 20 industry players to re-evaluate production and distribution of films in the industry.

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Utoh-Ezeajugh, Tracie Chima, and Ekene Euphemia Anijah. "Gender domination and domestic violence in Nigerian video films: a paradigmatic appraisal." UJAH: Unizik Journal of Arts and Humanities 18, no. 3 (February 2, 2018): 1. http://dx.doi.org/10.4314/ujah.v18i3.1.

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Krings, Matthias. "Muslim Martyrs and Pagan Vampires." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (December 3, 2005): 183–205. http://dx.doi.org/10.1558/post.v1i2_3.183.

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In December 2000 the government of Kano State in Muslim northern Nigeria reintroduced shari’a and established a new board for film and video censorship charged with the responsibility to “sanitize” the video industry and enforce the compliance of video films with moral standards of Islam. Stakeholders of the industry took up the challenge and responded by inserting religious issues into their narratives, and by adding a new feature genre focusing on conversion to Islam. This genre is characterized by violent Muslim/pagan encounters, usually set in a mythical past, culminating in the conversion of the pagans. This article will first outline northern Nigerian video culture and then go on to explore local debates about the religious legitimacy of film and video and their influence upon recent developments within the video industry. By taking a closer look at video films propagating Islam it will focus on three points: first, videomakers’ negotiation between the opposing notions of religious education and secular escapism; second, inter-textual relations with other (film)cultures; and third, political subtexts to the narratives, which relate such figures as Muslim martyrs and pagan vampires to the current project of cultural and religious revitalization.

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Harry, Deinibiteim M., and Samuel B. Kalagbor. "Electoral Violence and Democratic Consolidation in Nigeria: Issues and Challenges." Advances in Social Sciences Research Journal 8, no. 7 (July 19, 2021): 140–56. http://dx.doi.org/10.14738/assrj.87.10440.

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The study examined the effects of electoral violence on the democratization efforts and democratic consolidation in Nigeria since the beginning of the Fourth Republic in 1999. The nation’s elections, at all levels of governance, are characterized by violence. Violence mar as high as 70 percent of Nigerian elections resulting in deaths, destruction of properties, maiming, etc. Successive governments have made frantic efforts to institutionalize and consolidate democracy in the country, embarking on various electoral reforms with little or no result with respect to curbing electoral violence. Thus, the main objective of this study is to show that the high rate of electoral violence witnessed over the years has weakened and discredited the democratic consolidation drive of the Nigerian state. The theoretical framework adopted in this study is the “State Fragility Theory”. However, the author’s modified version of “State Compromise Theory” was used to analyze the nature, character and reasons for electoral violence in Nigeria and its effects on the institutionalization of democracy in the country. The study used both primary and secondary data. The primary data were mainly drawn from mainly the authors’ observations during elections, over the years, while secondary data were drawn from existing literature on the subject matter. The study revealed that the pervasive violence at different elections has greatly discredited and emasculated democratic governance in the country. Violence has become both physical and cathartic. It manifests in form of wanton shooting by political thugs to intimidate voters and electoral officials, so as to snatch election materials, disruption of voting, vote suppression, cancellation and annulment of elections in opposition strongholds, etc. The paper concluded that, to ensure the consolidation of democracy in Nigeria, election management bodies must adopt an electoral system that drastically reduces congregation of people at a voting point(s) so as to reduce violence. Some of the recommendations are that election management bodies should deploy appropriate technology to reduce congregation of people at a voting point, transmission of results should be done electronically to minimize human involvement, contacts error and manipulations.

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Azeez, Adesina Lukuman. "Audience perception of the reality in the representations of women in Nigerian films." Journal of African Cinemas 5, no. 2 (October 1, 2013): 149–66. http://dx.doi.org/10.1386/jac.5.2.149_1.

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Jedlowski, Alessandro. "Small Screen Cinema." Television & New Media 13, no. 5 (April 24, 2012): 431–46. http://dx.doi.org/10.1177/1527476412443089.

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Analyzing the Nigerian video industry through the lens of new media theory, this article proposes a genealogy of the Nollywood media format to identify and define its specificities. The films that the industry produces are often referred to as cinema but, compared to the output of other film industries around the world, Nollywood produces something that can be located in between cinema and television. The informality of Nigerian videos’ production and distribution has in fact allowed for the articulation of complex processes of remediation, which have participated in creating an original product, something that I would like to call “small screen cinema.” This media format has had a determinant role in Nollywood’s popular success and its definition is thus important for a general understanding of the industry’s social, economic, and cultural relevance.

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Adamu, Abdalla Uba. "Transcultural Connections." African and Asian Studies 16, no. 1-2 (March 16, 2017): 103–27. http://dx.doi.org/10.1163/15692108-12341373.

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The virtual addiction of Muslim Hausa youth to Indian films has a long history, which stretched to the first Indian films screen in northern Nigerian cinemas in the 1960s. The cultural convergence between what the Hausa see as representations of Indian cultural behavior – in terms of social mores, dressing, social interaction – all served to create what they perceive as a convergence between Indian ‘culure’ and Muslim Hausa culture. This paper traces the evolutionary attachment of the Hausa to Indian films and culture. In particular, it traces the various ways through Hausa youth use various devices to adopt, or adapt Indian popoular culture to suit their own re-worked creative pursuits. As a study of transnational fandom, it provides vital insight into how cultural spaces are collapsed, despite spatial and religious spaces.

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Osakpolor, Emwinromwankhoe. "Portrayal of Women in Contemporary Nollywood Films: Isoken and King of Boys in Focus." CINEJ Cinema Journal 9, no. 1 (July 14, 2021): 117–45. http://dx.doi.org/10.5195/cinej.2021.299.

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This study investigates the portrayal of women in contemporary Nollywood films, using Isoken (2017) and King of Boys (2018) as case studies. The objective was to highlight the various ways in which women in the films are portrayed to viewers and ascertain whether contemporary Nollywood movies are an improvement on the issues of gender stereotypes and sexism which are hitherto prevalent in the industry. Anchored on the cultivation theory, the study adopted the qualitative content analysis method. Findings showed that women in the studied films are negatively portrayed in various ways and that these portrayals are, at best, parallel to the stereotypical ways in which women were portrayed in previous Nollywood movies. Taking cognizance of the fact that both films are directed by women, the researcher recommends that Nollywood female directors should look beyond the lenses of financial gains and set a pace with regards to changing the narrative and portraying Nigerian women in a positive light.

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Udoh, Ekong E., Angela E. Oyo-ita, Friday A. Odey, Komomo I. Eyong, Chioma M. Oringanje, Olabisi A. Oduwole, Joseph U. Okebe, Ekpereonne B. Esu, Martin M. Meremikwu, and Asindi A. Asindi. "Malariometric Indices among Nigerian Children in a Rural Setting." Malaria Research and Treatment 2013 (February 28, 2013): 1–4. http://dx.doi.org/10.1155/2013/716805.

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Malaria contributes to high childhood morbidity and mortality in Nigeria. To determine its endemicity in a rural farming community in the south-south of Nigeria, the following malariometric indices, namely, malaria parasitaemia, spleen rates, and anaemia were evaluated in children aged 2–10 years. This was a descriptive cross-sectional survey among school-age children residing in a rubber plantation settlement. The children were selected from six primary schools using a multistaged stratified cluster sampling technique. They were all examined for pallor, enlarged spleen, or liver among other clinical parameters and had blood films for malaria parasites. Of the 461 children recruited, 329 (71.4%) had malaria parasites. The prevalence of malaria parasitaemia was slightly higher in the under fives than that of those ≥5 years, 76.2% and 70.3%, respectively. Splenic enlargement was present in 133 children (28.9%). The overall prevalence of anaemia was 35.7%. Anaemia was more common in the under-fives (48.8%) than in those ≥5 years (32.8%). The odds of anaemia in the under fives were significantly higher than the odds of those ≥5 years (OR=1.95 [1.19–3.18]). Malaria is highly endemic in this farming community and calls for intensification of control interventions in the area with special attention to school-age children.

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Ibrahim, Muhammad Muhsin, and Aliyu Yakubu Yusuf. "Going Beyond Boundaries: There is a Way and the Use of English Medium in Hausa Film Industry." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 205–24. http://dx.doi.org/10.5195/cinej.2018.206.

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Since its inception in 1990, Kannywood, the Northern Nigerian film industry, produced films only in Hausa, the dominant language of the region. The film, There is a Way (2016, dir. Falalu A. Dorayi) has recently debuted a new “genre” in the English language in the industry. However, the place of English or any non-African language in African arts (film, inclusive) is a topic of scholarly debate, especially within the discourse of postcolonial studies. Many pan-African writers and critics query the justification of that as the language is, they argue, foreign to African audience and is used only by and for the elites. Kannywood filmmakers, nevertheless, claim that theirs is rather a response to the Southern Nigerian filmmakers whose industry, Nollywood is enormously successful and far ahead for, among other reasons, their use of English. This paper attempts an evaluation of the English language and the subtitle of the film in question, to access the success or otherwise of its narrative essence.

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Odi, Christine. "Nollywood Mothering: A Socio-Cultural Analysis of the Concept of Motherhood in Select Nigerian Films." AFRREV IJAH: An International Journal of Arts and Humanities 5, no. 1 (February 3, 2016): 194. http://dx.doi.org/10.4314/ijah.v5i1.15.

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Dekie, Afra, Philippe Meers, Roel Vande Winkel, Sofie Van Bauwel, and Kevin Smets. "Nollywood online: Between the individual consumption and communal reception of Nigerian films among African diaspora." Journal of African Media Studies 7, no. 3 (September 1, 2015): 301–14. http://dx.doi.org/10.1386/jams.7.3.301_1.

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Alola, Mary I., and Uju V. Alola. "Gender stereotypes in Nigerian films as a portrayal of the African womanhood: A feminist perspective." Journal of Labor and Society 23, no. 2 (May 17, 2020): 221–43. http://dx.doi.org/10.1111/wusa.12465.

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Journal articles on the topic 'Nigerian films'

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