Nationalism, African Cinema, and Frames of Scrutiny

Akudinobi, Jude G.

doi:10.2979/ral.2001.32.3.123

Cited by 18 publications

(2 citation statements)

References 4 publications

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“…Generally, reception and textual studies of African films can be said to be in dire need of academic explorations. Only a few have been done and centred mostly on the canonized African films sponsored by the West (Adedeji, 2013;Akudinobi, 2007 andNwachukwu, 2010). Quite recently, attention has started focusing on Nollywood especially in the West African region (Alawode&Fatonji, 2013, Esan, 2008Alozie, 2010;Onuzulike, ibid;Akpabio, ibid;Ekwenchi, ibid) to discuss and analyze representations from insiders' perspectives.…”

Section: Nollywood: Emergence and Brief Historymentioning

confidence: 99%

Decoding Representation of Ethnicity Identity and Ideology in ‘Half of a Yellow Sun’: An Audience and Critical Analysis

Onyinye¹

2021

theijhss

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For a decade now, Nigeria's Nollywood, like such other social institutions as education, government and religion, has continued to attract popular discourses about issues and social groups in the country. Considering that media narratives are part of the complex processes involved in the construction of meanings by informing the ways we make sense of the world around us. This study therefore questioned the point of intersection between theories and Nigerian's pragmatic experiences in the face of socio-cultural constructions around identity, ideology and representation of ethnic difference through BiyiBandele's movie an adaptation of Chimamanda Adichie's literary narrative entitled 'Half of a Yellow Sun'. However, the assumption that the media (films) can bring about certain deliberate and unwitting characteristics and behaviors anchored this study on critical reader and active audience theory. The research therefore focused on Decoding Audience representation of ethnicity, identity, and ideology in Half of a Yellow Sun. This study employed a mixed research instrument FGD and critical thematic analysis to determine the audience perception of ethnicity, identity and ideology in the movie. However, 24 super fans of the movie were selected through the snow balling technique and determined from among the three major ethnic groups of Nigeria for the FGD. Findings from the study indicated that the dominant themes of ethnicity, identity and ideology expressed and were largely perceived by the southeastern discussants as inciting, as the movie brought back unpleasant memories of the war and Nigerian's ethnic diversity. As a result of the inciting nature of portrayals in the movie according to the Focus Group Discussants, the study therefore recommended that it is high time stakeholders in the Nigerian media industry especially Nigerian censorship board made genuine and conscious effort to change certain inciting and divisive contents featured in most Nollywood movies before they are taken to the market.

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“…Generally, reception and textual studies of African films can be said to be in dire need of academic explorations. Only a few have been done and centred mostly on the canonized African films sponsored by the West (Adedeji, 2013;Akudinobi, 2007 andNwachukwu, 2010). Quite recently, attention has started focusing on Nollywood especially in the West African region (Alawode&Fatonji, 2013, Esan, 2008Alozie, 2010;Onuzulike, ibid;Akpabio, ibid;Ekwenchi, ibid) to discuss and analyze representations from insiders' perspectives.…”

Section: Nollywood: Emergence and Brief Historymentioning

confidence: 99%

Decoding Representation of Ethnicity Identity and Ideology in ‘Half of a Yellow Sun’: An Audience and Critical Analysis

Onyinye¹

2021

theijhss

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“…Generally, reception and textual studies of African films can be said to be in dire need of academic explorations. Only a few have been done and centred mostly on the canonized African films sponsored by the West (Zacks, 1995;Schmidt, 1985;Pfaff, 1992;Petty, 1992;Murphy, 2000;Tomaselli, Sherperson, and Eke, 1995;Haynes, 1995;Adedeji, 1971;Akudinobi, 2001;Diawara, 1988Diawara, , 1992Diawara, , 1996Diawara, , 1999Nwachukwu, 1994;Bakari and Cham, 1996;Larkin, 1997). Quite recently, attention has started focusing on Nollywood especially in the West African region Adesanya, 2000;Ogundele, 2000;Ekwuazi, 2000;Okome, 2000;Garritano, 2000;Johnson, 2000;Oha, 2000;Larkin, 1997Larkin, , 2000Larkin, , 2002Larkin, , 2006Okome, 1997, 2000;Adejunmobi, 2002;Nwachukwu, 2003;Lawuyi, 1997;Oha, 2001Oha, , 2002Ofeimun, 2003;Owens-Ibie, 1998;Kunzler, 2007;Okome, 2007;Onuzulike, 2007;Okoye, 2007;Dipio, 2007;Adeoti, 2007;McCall, n.d;Esosa, 2005;Akomfrah, 2006;Adesokan, 2006;Aderinokun, 2005;...…”

Section: Nollywood: Emergence and Brief Historymentioning

confidence: 99%

The Representation of African Traditional Religion and Culture in Nigeria Popular Films

Uwah¹

2011

prj

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One of the ways by which religious rituals communicate in African society is by maintaining cohesion in the culture. They connect participants to richer meanings and larger forces of their community. Even in representational models, rituals create solidarity in the form of subjective experiences of sharing the same meaningful world which is attained by participants through the condensed nature of symbols used therein. Traditional religion is one ritual that despite the influence of westernization and scientific developments in Africa, still holds meaningful implications in people’s everyday life. Thus, from day break to evening, people have religious rituals with which they communicate with their God or gods, deities and ancestors. Also from weeks to seasons, months to years, there are festivals and rituals both in private and in public situations which the African still celebrate in connection with the ‘living dead’ or those in the ‘spirit world’. This paper by means of nuanced textual analysis of some Nigerian home based films: Things Fall Apart (1986), Igodo: The Land of the Living Dead (1999), Sango, (1998), Festival of Fire, (1999), Bless Me, (2005) traces religion to the root paradigm of African cultures as a channel to the construction of African identity

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