http://hdl.handle.net/123456789/52 2026-04-04T16:22:34Z 2026-04-04T16:22:34Z MGBEMERE, Chijindu Daniel http://hdl.handle.net/123456789/1955 2024-04-24T15:02:48Z 2023-02-01T00:00:00Z

GENOCIDE AND DISSONANCE IN SELECT AFRICAN FILMS MGBEMERE, Chijindu Daniel Genocide and dissonance, experienced by ethnic nationalities in Africa, lead to wanton destruction of lives and property. Previous studies on these phenomena concentrated on causal factors and various preventive and punitive measures against them, as reflected in radio and print media, with little attention paid to their representation in films. This study was, therefore, designed to interrogate genocide and dissonance in African films, with a view to determining their nature and effects. Kenneth Arrow’s Social Choice and Gregory Bateson’s framing theories were adopted as the framework, while the descriptive design was used. Five films were purposively selected for their treatment of genocide and dissonance. They are Hotel Rwanda (HR), Half of a Yellow Sun (HYS), Attack on Darfur (AD), Sarafina and Somewhere in Africa (SA). Data were subjected to critical analysis. Hotel Rwanda, HYS and SA are the films with genocide contents, while Sarafina and AD have dissonance contents. Causes of genocide and dissonance in the films are political dominance (HR, HYS, AD, Sarafina and SA), ethnic and religious intolerance (AD and SA) and battling for limited economic resources (HR and AD). Victims are exposed to physical and mental abuse (HR, HYS and AD), varying degree of displacement (HR and HYS), child soldering (HYS), property loot (AD), hunger and starvation (HYS, HR), rape (HR, SA and AD), sex-slavery (HR), killing by those close to them (HR) as well as mental and psychosomatic stress disorders (HR and HYS). Genocide and dissonance are tacitly sponsored by the State (HR, HYS, AD, Sarafina and SA). Religious and educational institutions play contrastive role in HR. While school teachers in the high school prefer to die with their students instead of isolating them according to ethnic groups, religious priests betray those that run to them for safety. By their action and inaction, local and international media, interested members of the international community and aid agencies abet genocide and dissonance that they are supposed to prevent. There are no consequences for the leaders of genocides and dissonance in all the films, except in SA where General Mumbasa is eventually assassinated. There is flagrant abuse of the dignity of the human person and the sanctity of life, as Africans are depicted as brutish and wild in all the films. Genocide and dissonance are uncivilized ways of settling differences, dialogue instead of violence is the antidote needed for sustaining peaceful coexistence, healthy and harmonious relationship can still be achieved after incidence of genocide and dissonance are the central messages common to all the films. Genocide and dissonance in Africa, as presented in the films, are sustained by the selfish interest of local and international state and non-state actors, while their effects on the people are physical, mental, social and economic.

2023-02-01T00:00:00Z GWAM-NZEKWU, GRACE DUMEBI http://hdl.handle.net/123456789/1482 2022-02-22T15:12:25Z 2021-08-01T00:00:00Z

NIGERIAN CAREER WOMEN’S PERCEPTION OF THEIR REPRESENTATION IN SELECTED NOLLYWOOD FILMS GWAM-NZEKWU, GRACE DUMEBI Career women constitute a group of upwardly mobile individuals contributing to societal development in Nigeria. Nollywood films have variously portrayed career women on different light. However, the perception of Nigerian career women to how they are represented in Nollywood films have not received adequate attention. This study was, therefore, designed to examine Nigerian career women’s perception of their representation in selected Nollywood films. Melvin Defleur’s Cultural Norms and Emmanuella Lombardo’s feminist analytical theories served as framework. The interpretive and descriptive survey designs were employed. Ten films were purposively selected based on their representation of career women. They were Ije, Guilty Pleasures, Mr & Mrs, Lionheart, Isoken, Rough Diamond, Tango with Me, 100% Secrete, Ghana Must Go and Iyore. Copies of a questionnaire were administered to 580 purposively selected career women who watched Nollywood films. Data were subjected to content analysis and descriptive statistics. The portrayals of career women in Nollywood films are perceived by career women as misrepresentations and inappropriate. Mr & Mrs emphasizes the need for a husband and his family to allow wives who so desire, to practise their chosen career and also projects problems associated with a wife being too engrossed in her career. Ije and Guilty Pleasures attribute marital breakup to wives being prevented from pursuing their career. In Rough Diamond, Mena almost loses her job due to her desperate desire to keep her home by pretending to be pregnant and adopting a child under false pretence. Tango With Me, 100% Secrete, Ghana Must Go and Iyore depict different aspects of women’s lives with no attention paid to their careers. In Lionheart, Adaeze wields her astute entrepreneurial skills to revitalize her aged father’s ailing transport company. Isoken similarly portrays a successful career-minded young woman whose priority was not necessarily in marriage, much to the chagrin of her dear mother. A majority of the respondents (86.7%) and (56.7%) perceived that women are rarely represented in Nollywood films as influential leaders and role models, respectively. In addition, 83.7% viewed their portrayals in the films as negative and stereotypic, 28.1% saw them as passive victims, while 22.9% understood them as scheming and manipulative, and 21.3% adjudged them as available sex object. Career women challenges indicated that 49.0% of the respondents grappled with time management, 23.9% desired self-improvement, and 17.0% coped with sexual harassment in the workplace.

2021-08-01T00:00:00Z AKINWOLE, OMOLOLA TOSAN http://hdl.handle.net/123456789/1480 2022-02-22T15:07:45Z 2021-08-01T00:00:00Z

STAKEHOLDERS’ PERCEPTION OF THE WOMAN IN NOLLYWOOD FILMS AKINWOLE, OMOLOLA TOSAN Nollywood films are marked by characterology that portrays the man and woman either negatively or positively. Existing studies on the representation of the woman have largely been from the feminist and womanist perspective with inadequate attention paid to stakeholders’ (Nollywood’s audience, practitioners and scholars) perceptions of the portrayal of the woman. This study was, therefore, designed to examine stakeholders’ perception of the woman in Nollywood films, with a view to determining the dominant representation. Andrej Demuth’s Perception Theory served as the framework, while the survey and interpretive designs were adopted. Nollywood (English, Yoruba and Hausa) film viewers in 20 local government areas in the capitals of the six southwestern states: Ikeja in Lagos (one), Akure in Ondo (three), Abeokuta in Ogun (two), Osogbo in Osun (two), Ado Ekiti in Ekiti (one) and Ibadan in Oyo (11) participated. Copies of a questionnaire were administered to 525 respondents (248 male and 277 female), 25 each from the selected local governments, (except in Lagos where 50 were chosen due to the high population). Interview was conducted with 12 (six male and six female) experienced Nollywood practitioners (two from each state); six (3 male and 3 female) Nollywood scholars (one from each state); and 18 (eight male and 10 female) Nollywood’s audience (three from each state). Data were subjected to descriptive statistics and content analysis. Profession and experience (74.2%) and academic qualification (50.7%) dictate the roles allocated to the woman in Nollywood films. The perception of the woman was that of a perfect mother (68.4%), money lover (58.7%), a second class citizen (54.3%), and a gossip (59.6%). There is no agreement that Nollywood is gender biased because its films advocate that the woman should be seen (60.4%), and her voice should be heard (64.6%). Respondents were of the opinion that the woman is a respectable partner in marriage (62.3%), and a successful (63.0%) but difficult leader (52.8%). Majority were of the opinion that Nollywood films depict the woman as an excellent mother in-law (76.6%), a change agent (68.3%) and an excellent wife (78.6%). The portrayal of the woman in Nollywood films is both negative and positive. The woman is depicted as a violent but sacrificial wife, a bad mother but a faithful employee; she is rebellious, self-centered, a money lover, and a betrayer, even though she is also competent, courageous, a shield for her children, and an instrument of cultural change. While the woman has to resort to diabolical means to establish her identity before now, most films depict the woman as looking into herself for inner strength in order to assert who she is. The woman is not seen as incompetent, weaker sex, bad mother in-law, sex object and solely responsible for barrenness in marriage. Contrary to the widely held notion that only male film directors portray the woman negatively, female directors also portray the woman negatively too.

2021-08-01T00:00:00Z OGUNGBESAN, OLUSEYI ABIODUN http://hdl.handle.net/123456789/1478 2022-02-22T15:01:11Z 2021-01-01T00:00:00Z

PRODUCTION MANAGEMENT PATTERNS INNATIONAL TROUPE OF NIGERIAAND SELECTED SOUTHWESTERN ARTS COUNCIL TROUPES OGUNGBESAN, OLUSEYI ABIODUN Production management is an aspect of Theatre Mmanagement (TM) dealing with the procedures and processes beginning from concept development to the realisation of a production. Extant studies in Theatre Management have focuse on its business, facility, and audience relationship, with little attention paid to how productions are selected, rehearsed and produced. The study was, therefore, designed to examine how productions are managed in the National Troupe of Nigeria (NTN) and selected arts council troupes, with a view to determining their conformity to the production management best practices: availability of production team, alignment of productions with troupe's objectives, existence of production script, consistency with production output, availability of production book, and statutory production schedule. Henri Fayol’s Administrative Theory was adopted as framework. Archival and ethnographic designs were used. (NTN), three arts council troupes: Oyo State Council for Arts and Culture (OYSCAC), Lagos State Council for Arts and Culture (LASCAC) and Ogun State Council for Arts and Culture, (OGSCAC), were purposively selected based on their visibility compared to other southwestern troupes. Data were collected through a review of production books, and indepth interview with four staff (Unit Director, Artistic Director, Stage Manager and a member of cast) in each of the four selected troupes. Data were subjected to descriptive and thematic analysis. Out of the four troupes, only NTN had a production team which decided what to produce in line with its objectives, while the Director of Performing Department/Unit perform this function in the other troupes. Productions aligned with seven out of 12 OYSCAC objectives, eight out of 10 LASCAC objectives; five out of ten OGSCAC objectives, while NTN's productions conformed to all its six objectives. Workshop ensemble was the most common type of production in OYSCAC, LASCAC, and OGSCAC as opposed to published scripts common to NTN. The NTN was consistent with its production output. Outputs from LASCAC, OGSCAC and OYSCAC reduced considerably between 2010 and 2018 due to limited government support and weak production management structure. Only NTN had production book that documented the entire production process. Others had videos and pictures of performances as the documentary evidence of their productions. NTN had a detailed statutory production schedule, while the other troupes had National Arts Festival (NAFEST) entries as their only statutory programme. Drama, dance and music performances were common to all the troupes, but dance was the most common among council troupes. Common production management features in the troupes were conduct of production planning meetings, daily rehearsals and operation of repertory system, which could be staged on short notice. The National troupe of Nigeria and Troupes in Southwestern Nigeria vary in their conformity to production management best practices such as availability of production team, alignment of productions with troupe's objectives and existence of production script. Those with a high level of conformity, represented by National troupe of Nigeria, recorded better successes and sustainability rate than those with low level conformity.

2021-01-01T00:00:00Z