Article Sidebar
Downloads
Main Article Content
Abstract
This study examined the Nollywood offering and Nigerian people and cultures, with a focus on reflections and projection. The study employed interviews and questionnaires as data collection tools. The study adopted reflective-projective theory and cultivation theory as its theoretical framework to guide the study. A sample of 400 residents of Port Harcourt City was employed using a cluster sampling technique. This study found that Nollywood films project social realities and issues in contemporary Nigerian society, and they take their coloration from Nigerian society. Most Nigerians have easy access to home movies and watch them mostly for entertainment purposes while being entertained, getting educated, or enlightened on certain things in society, such as culture, and end up being influenced in some areas of their lives. Nollywood films have a serious influence on the way audiences perceive social reality. Furthermore, the study also found that Nollywood films enable viewers to become familiar with Nigerian culture. Thus, the study concluded that Nollywood movies are avenues for the transmission of cultural heritage from generation to generation, with several appeals to their audience.
Keywords
Article Details
Copyright (c) 2023 Perpetua Ogechi Aondover, Eric Msughter Aondover
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
References
Abakporo, P., & Samuel, G. (2023). Between e-culture and real culture: A peep through the lenses of Nollywood. Pedagogika Społeczna Nova, 2(4), 149–163. https://doi.org/10.14746/psn.2022.4.09
Achu, O., Friday, & Ajima, O., Gregory. (2019). The phenomenon of witchcraft in Utugwang cosmology. International Journal of Scientific & Engineering Research, 10(7), 709–725. https://doi.org/10.14299/ijser.2019.07.07
Adejuwon, A., & Alimi, S. (2011). Cartoons as illustration: Political process in Nigeria. The Journal of Pan African Studies, 4(3), 57–76. https://www.jpanafrican.org/docs/vol4no3/4.3%20Cartoons.pdf
Adesokan, A. (2004). Loud in Lagos: Nollywood videos. Wasafiri, 19(43), 45–49. https://doi.org/10.1080/02690050408589937
Adesokan, A. (2009). Practising “democracy” in Nigerian films. African Affairs, 108(433), 599–619. https://doi.org/10.1093/afraf/adp044
Adesokan, A. (2011). Anticipating Nollywood: Lagos circa 1996. Social Dynamics, 37(1), 96–110. https://doi.org/10.1080/02533952.2011.569998
Adesokan, A. (2012). Nollywood and the idea of the Nigerian cinema. Journal of African Cinemas, 4(1), 81–98. https://doi.org/10.1386/jac.4.1.81_1
Adikata, A. A. (2014). Nollywood, manipulation and social reality perceptions. LAP LAMBERT Academic Publishing.
Agba, J. U. (2014). Creating the locale for Nigerian film industry: Situating Nollywood in the class of global cinema. Academic Journal of Interdisciplinary Studies, 3(6), 155–162. https://doi.org/10.5901/ajis.2014.v3n6p155
Akande, L. (2021). Nollywood cinema’s character of recurrence. Journal of African Cultural Studies, 33(4), 456–470. https://doi.org/10.1080/13696815.2020.1780905
Alamu, O. (2010). Narrative and style in Nigerian (Nollywood) films. African Study Monographs, 31(4), 163–171. https://doi.org/10.14989/139277
Alawode, S. O., & Sunday, U. (2013a). Home video as Nigerian image maker. European Scientific Journal, ESJ, 9(11), Article 11. https://doi.org/10.19044/esj.2013.v9n11p%p
Alawode, S. O., & Sunday, U. (2013b). Showcasing Nigeria through the home videos. IOSR Journal Of Humanities And Social Science, 13(1), 25–33. https://doi.org/10.9790/0837-1312533
Amaefula, R. C. (2016). Morality and video film in a networked society: The Nigerian example. A Journal of Theatre & Media Studies, 1(2), 168–176. https://www.researchgate.net/publication/327745497_Morality_and_Video_Film_in_a_Networked_Society_The_Nigerian_Example
Arthur, T. (2014). Reimagining the “blockbuster” for Nigerian cinema: The Nollywood narrative aesthetic of affective spectacle. The Journal of Pan African Studies, 6(9), 101–116. https://www.jpanafrican.org/docs/vol6no9/6.9-7-Arthur.pdf
Baghana, J., & Voloshina, Т. G. (2023). Nigerian film industry and screenplay text: Historical and linguo-socio-cultural symbiosis. Nauchnyi Dialog, 12(1), 132–150. https://doi.org/10.24224/2227-1295-2023-12-1-132-150
Cha, J. (2013). Predictors of television and online video platform use: A coexistence model of old and new video platforms. Telematics and Informatics, 30(4), 296–310. https://doi.org/10.1016/j.tele.2013.01.001
Chimbuto, J. G. S. (2016). The representation of women in Nollywood films [Doctoral thesis, University of Roehampton]. https://pure.roehampton.ac.uk/portal/en/studentTheses/the-representation-of-women-in-nollywood-films
Dairo, M. (2021). The role of indigenous films in preserving Nigerian culture: Analysis of Efunsetan Aniwura. Journal of Culture, Society and Development, 65, 17–23. https://doi.org/10.7176/JCSD/65-03
Dixon, D. P., & Zonn, L. E. (2004). Film networks and the place(s) of technology. In S. D. Brunn, S. L. Cutter, & J. W. Harrington (Eds.), Geography and technology (pp. 243–266). Springer Netherlands. https://doi.org/10.1007/978-1-4020-2353-8_11
Durkheim, E. (1973). Emile Durkheim on morality and society (R. N. Bellah, Ed.; First edition). University of Chicago Press.
Ekron, Z. (2011). A critical and functional analysis of the mirror metaphor with reference to the media’s responsibility towards society. Global Media Journal African Edition, 2(1), 80–87. https://doi.org/10.5789/2-1-36
Ekwenchi, O. C. (2008). Popular fiction television production in Nigeria: Global models, local responses [Doctoral thesis, University of Westminster]. https://doi.org/10.34737/9156w
Elinwa, O. J. (2020). Audience readings and meaning negotiation in the film viewing space: An ethnographic study of Nollywood’s viewing center audiences. Sage Open, 10(3), 2158244020939537. https://doi.org/10.1177/2158244020939537
Emmy, U. I. (2014). Which change, what change? Glamourising social misfits in selected Nigerian home movies. International Journal of English and Literature, 5(8), 174–181. https://doi.org/10.5897/IJEL2014.0621
Esan, O. (2011). Audience appreciation of Nigerian films (Nollywood). In L. Hubner (Ed.), Valuing films: Shifting perceptions of worth (pp. 121–145). Palgrave Macmillan UK. https://doi.org/10.1057/9780230305854_8
Gerbner, G., & Gross, L. (1976). Living with television: The violence profile. Journal of Communication, 26(2), 172–199. https://doi.org/10.1111/j.1460-2466.1976.tb01397.x
Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1986). Living with television: The dynamics of the cultivation process. In J. Bryant & D. Zillmann (Eds.), Perspectives on media effects (pp. 17–40). Lawrence Erlbaum.
Harnischfeger, J. (2003). The Bakassi Boys: Fighting crime in Nigeria. The Journal of Modern African Studies, 41(1), 23–49. https://doi.org/10.1017/S0022278X02004135
Haynes, J. (2006). Political critique in Nigerian video films. African Affairs, 105(421), 511–533. https://doi.org/10.1093/afraf/adi125
Haynes, J. (2011). Nollywood in Lagos, Lagos in Nollywood films. In J. Kapur & K. Wagner (Eds.), Neoliberalism and global cinema: Capital, culture, and Marxist critique. Routledge.
Ibe, I. O., Shaka, F. O., & Uwah, I. E. (2020). Generic ideologies of popular culture in Nollywood. South-South Journal of Humanities and International Studies, 1(2), 193–208. https://ssjhis.org/wp-content/uploads/2021/07/10-Generic-Ideologies-of-Popular-Culture-in-Nollywood.pdf
Ibhakewanlan, J.-O. (2000). The African family in a global media sex-culture. Hekima Review, 23, 54–65. https://www.africabib.org/rec.php?RID=Q00030225
Ihidero, V. O. (2019). Terror thrillers and tradition: A postcolonial reading of selected African cinema. EJOTMAS: Ekpoma Journal of Theatre and Media Arts, 7(1–2), Article 1–2. https://doi.org/10.4314/ejotmas.v7i1-2.10
Ipadeola, T. (2022). Nollywood: A dark horse dreams of becoming the black swan. World Literature Today, 96(4), 30–33. https://doi.org/10.1353/wlt.2022.0167
Jedlowski, A. (2012). On the periphery of Nollywood: Nigerian video filmmaking in Italy and the emergence of an intercultural aesthetics. In C. Lombardi-Diop & C. Romeo (Eds.), Postcolonial Italy: Challenging national homogeneity (pp. 239–252). Palgrave Macmillan US. https://doi.org/10.1057/9781137281463_16
Jegede, O. B. (2011). Representation of (step) mothering and identity formation of children in plural marriage settings in two Nigerian children’s narratives. Lwati: A Journal of Contemporary Research, 8(4). https://doi.org/10.4314/LWATI.V8I4
Kurfi, M. Y., Msughter, M. E., & Mohamed, I. (2021). Digital images on social media and proliferation of fake news on COVID-19 in Kano, Nigeria. Galactica Media: Journal of Media Studies, 3(1), 103–124. https://doi.org/10.46539/gmd.v3i1.111
Li, S.-C. S. (2020). Lifestyles, technology clustering, and the adoption of over-the-top television and internet protocol television in Taiwan. International Journal of Communication, 14(0), Article 0. https://ijoc.org/index.php/ijoc/article/view/12259
Loevinger, L. (1968). The ambiguous mirror: The reflective‐projective theory of broadcasting and mass communications. Journal of Broadcasting, 12(2), 97–116. https://doi.org/10.1080/08838156809386232
Loevinger, L. (1971). The voiceless muse—A story about television. Performing Arts Review, 2(1), 39–56. https://doi.org/10.1080/00315249.1971.9943325
Mangot, A., & Murthy, V. (2017). Cinema: A multimodal and integrative medium for education and therapy. Annals of Indian Psychiatry, 1(1), 51. https://doi.org/10.4103/aip.aip_13_17
McCain, C. (2012). Video exposé: Metafiction and message in Nigerian films. Journal of African Cinemas, 4(1), 25–57. https://doi.org/10.1386/jac.4.1.25_1
McCall, J. C. (2002). Madness, money, and movies: Watching a nigerian popular video with the guidance of a native doctor. Africa Today, 49(3), 79–94. https://www.jstor.org/stable/4187517
McCall, J. C. (2004). Juju and justice at the movies: Vigilantes in Nigerian popular videos. African Studies Review, 47(3), 51–67. https://doi.org/10.1017/S0002020600030444
McQuail, D. (1987). Processes of media effects. In O. Boyd-Barrett & P. Braham (Eds.), Media, knowledge and power. Routledge.
Mo, B. (2015). Demography and medical education among Nigerian final year medical students-implication for regional and human resource development. Journal of Health Education Research & Development, 03(03). https://doi.org/10.4172/2380-5439.1000150
Msughter, A. E., & Iman, M. L. (2020). Internet meme as a campaign tool to the fight against COVID-19 in Nigeria. Global Journal of Human-Social Science, 20(A6), 27–38. https://gjhss.com/index.php/gjhss/article/view/1966
Musa, B. A. (2019). Nollywood and the glocalization of prosocial entertainment. In B. A. Musa (Ed.), Nollywood in glocal perspective (pp. 127–144). Springer International Publishing. https://doi.org/10.1007/978-3-030-30663-2_7
Nbete, A. D., & Ikiroma-Owiye, S. (2015). Film and cultural imperialism in Nigeria: A critical developmental perspective. The Crab: Journal of Theatre and Media Arts, 9, 123–138. http://crab.uniport.edu.ng/images/crab_journal_2014/Film%20and%20Cultural%20Imperialism%20in%20Nigeria_AlubaBari_D_Nbete_Somieari_I_Owiye.pdf
Nevzat, R. (2018). Reviving cultivation theory for social media. The Asian Conference on Media, Communication & Film 2018: Official Conference Proceedings. https://papers.iafor.org/submission42554/
Obong, U. A., Ukpabio, E. I., & Etifit, S. A. (2023). Film, propaganda, and the “New Nigeria” national philosophy. Galactica Media: Journal of Media Studies, 5(2), 61–82. https://doi.org/10.46539/gmd.v5i2.361
Ogunnubi, O., & Idowu, D. L. (2022). Nollywood, the orange economy and the appropriation of Nigeria’s soft power. In T. Afolabi, O. Ogunnubi, & S. T. Ukuma (Eds.), Re-centering cultural performance and orange economy in Post-Colonial Africa (pp. 141–158). Springer Nature Singapore. https://doi.org/10.1007/978-981-19-0641-1_9
Ojobor, I. (2002). Mass communication theories. In C. Okunna (Ed.), Teaching mass communication: A multidimensional approach. New Generation Books.
Okafor, A. K. (2018). Sexuality and womanhood in selected Nigerian film. Creative Artist: A Journal of Theatre and Media Studies, 12(2), Article 2. https://www.ajol.info/index.php/cajtms/article/view/197822
Okwori, J. Z. (2003). A dramatized society: Representing rituals of human sacrifice as efficacious action in Nigerian home-video movies. Journal of African Cultural Studies, 16(1), 7–23. https://doi.org/10.1080/1369681032000169230
Ola, Y. (2013). Satires of power in Yoruba visual culture. Carolina Academic Press.
Olayiwola, A. (2023). Gendered Nollywood: The crisis of femininity in contemporary Nigerian films. International Review of Humanities Studies, 8(1), Article 15. https://doi.org/10.7454/irhs.v8i1.1014
Omoera, O. S. (2014). An assessment of the economics of the Benin language film in Nigeria. Quarterly Review of Film and Video, 31(5), 387–400. https://doi.org/10.1080/10509208.2012.679516
Onuzulike, U. (2009). Nollywood: Nigerian videofilms as a cultural and technological hybridity. Intercultural Communication Studie, 18(1), 176–187. https://www.researchgate.net/publication/279533077_Nollywood_Nigerian_Videofilms_as_a_Cultural_and_Technological_Hybridity
Onwuzuruigbo, I. (2021). Rethinking ‘August Meeting’ in Southeastern Nigeria. https://doi.org/10.1163/15691330-12341543
Onyemauwa, V. U., & Akuchie, R. (2020). Thematic issues in selected Nollywood movies: A paradigm shift for the promotion of Christian virtues and morality. Evaia: International Journal of Ethics and Values, 1(1), 139–153. https://nigerianjournalsonline.com/index.php/EVAIA/article/view/1048
Peter, C. (2022). Media coverage as mirror or molder? An inference-based framework. Media and Communication, 10(3), 183–195. https://doi.org/10.17645/mac.v10i3.5453
Pilkington, F. (1956). The problem of unity in Nigeria. African Affairs, 55(220), 219–222. https://www.jstor.org/stable/718750
Potter, W. J. (1993). Cultivation theory and research: A conceptual critique. Human Communication Research, 19(4), 564–601. https://doi.org/10.1111/j.1468-2958.1993.tb00313.x
Richerson, P. J., & Boyd, R. (2006). Not by genes alone: How culture transformed human evolution (First paperback edition). University of Chicago Press.
Shrum, J., & Bischak, D. (2001). Mainstreaming, resonance, and impersonal impact: Testing moderators of the cultivation effect for estimates of crime risk. Human Communication Research, 27(2), 187–215. https://doi.org/10.1111/j.1468-2958.2001.tb00780.x
Smith, D. J. (2004). The Bakassi Boys: Vigilantism, violence, and political imagination in Nigeria. Cultural Anthropology, 19(3), 429–455. https://doi.org/10.1525/can.2004.19.3.429
Sofradžija, H. (2020). Technosociality and the rise of the network society. In I. Karabegović (Ed.), New technologies, development and application III (Vol. 128, pp. 432–436). Springer International Publishing. https://doi.org/10.1007/978-3-030-46817-0_49
Sperber, D., & Hirschfeld, L. A. (2004). The cognitive foundations of cultural stability and diversity. Trends in Cognitive Sciences, 8(1), 40–46. https://doi.org/10.1016/j.tics.2003.11.002
Thangavelu, A. P. (2020). Film as a reflection of society: Reception of social drama in Tamil cinema. In S. K. Biswal, K. S. Kusuma, & S. Mohanty (Eds.), Advances in religious and cultural studies (pp. 185–196). IGI Global. https://doi.org/10.4018/978-1-7998-3511-0.ch016
Tsaaior, J. T. (2018). “New” Nollywood video films and the post/nationality of Nigeria’s film culture. Research in African Literatures, 49(1), 145. https://doi.org/10.2979/reseafrilite.49.1.09
Udoh, A. P., & Etteyit, A. S. (2020). Nollywood video films and the Nigerian image crisis: A study of ten films. In F. P. C. Endong (Ed.), Advances in Media, Entertainment, and the Arts (pp. 207–224). IGI Global. https://doi.org/10.4018/978-1-5225-9821-3.ch008
Ugochukwu, F. (2017). Changing Nigerian cultures: Two films against witchcraft and an impossible dialogue. In J. Tsaaior & F. Ugochukwu (Eds.), Nigerian film culture and the idea of the nation: Nollywood and national narration (pp. 73–92). Adonis & Abbey. http://adonisandabbey.com/book_detail.php?bookid=234
Ugochukwu, F. (2019). Ije The Journey (2010), a message on migration and violence. Journal of African Films & Diaspora Studies, 2(1), 43–53. https://doi.org/10.31920/2516-2713/2019/2n1a3
Ugor, P. (2009). Youth culture and the struggle for social space: The Nigerian video film [Doctoral thesis, University of Alberta]. https://doi.org/10.7939/R37D2X
Ukwueze, C. A., & Uzochukwu, U. P. E. and C. E. (2019). Nollywood films representation of cultism and ritual murder in Nigeria, real or imagined? An audience assessment. International Journal of Communication and Media Science, 2(2), 11–24. https://doi.org/10.14445/2349641X/IJCMS-V2I2P109
Umeaka, M.-C. C. (2020). Comparative studies of old and new Nollywood’s narrative pattern; A case study of Kenneth Nnebue’s Living in Bondage and Kunle Afolayan’s Irapada [Bachelor’s thesis, Kwara State University]. https://doi.org/10.13140/RG.2.2.33724.45440
Uwah, I. E. (2009). From rituals to films: A case study of the visual rhetoric of Igbo culture in Nolywood films [Doctoral thesis, Dublin City University]. https://doras.dcu.ie/14914/
Uwakwe, O. (2010). Mass communication theories. In K. Nworgu (Ed.), Mass communication: Theory and practice. Ultimate Books.
Wimmer, R., & Dominick, J. (2013). Mass media research: An introduction (10th edition). Cengage Learning.
Zajc, M. (2009). Nigerian video film cultures. Anthropological Notebooks, 15(1), 65–85. https://anthropological-notebooks.zrc-sazu.si/Notebooks/article/view/341
References
Abakporo, P., & Samuel, G. (2023). Between e-culture and real culture: A peep through the lenses of Nollywood. Pedagogika Społeczna Nova, 2(4), 149–163. https://doi.org/10.14746/psn.2022.4.09
Achu, O., Friday, & Ajima, O., Gregory. (2019). The phenomenon of witchcraft in Utugwang cosmology. International Journal of Scientific & Engineering Research, 10(7), 709–725. https://doi.org/10.14299/ijser.2019.07.07
Adejuwon, A., & Alimi, S. (2011). Cartoons as illustration: Political process in Nigeria. The Journal of Pan African Studies, 4(3), 57–76. https://www.jpanafrican.org/docs/vol4no3/4.3%20Cartoons.pdf
Adesokan, A. (2004). Loud in Lagos: Nollywood videos. Wasafiri, 19(43), 45–49. https://doi.org/10.1080/02690050408589937
Adesokan, A. (2009). Practising “democracy” in Nigerian films. African Affairs, 108(433), 599–619. https://doi.org/10.1093/afraf/adp044
Adesokan, A. (2011). Anticipating Nollywood: Lagos circa 1996. Social Dynamics, 37(1), 96–110. https://doi.org/10.1080/02533952.2011.569998
Adesokan, A. (2012). Nollywood and the idea of the Nigerian cinema. Journal of African Cinemas, 4(1), 81–98. https://doi.org/10.1386/jac.4.1.81_1
Adikata, A. A. (2014). Nollywood, manipulation and social reality perceptions. LAP LAMBERT Academic Publishing.
Agba, J. U. (2014). Creating the locale for Nigerian film industry: Situating Nollywood in the class of global cinema. Academic Journal of Interdisciplinary Studies, 3(6), 155–162. https://doi.org/10.5901/ajis.2014.v3n6p155
Akande, L. (2021). Nollywood cinema’s character of recurrence. Journal of African Cultural Studies, 33(4), 456–470. https://doi.org/10.1080/13696815.2020.1780905
Alamu, O. (2010). Narrative and style in Nigerian (Nollywood) films. African Study Monographs, 31(4), 163–171. https://doi.org/10.14989/139277
Alawode, S. O., & Sunday, U. (2013a). Home video as Nigerian image maker. European Scientific Journal, ESJ, 9(11), Article 11. https://doi.org/10.19044/esj.2013.v9n11p%p
Alawode, S. O., & Sunday, U. (2013b). Showcasing Nigeria through the home videos. IOSR Journal Of Humanities And Social Science, 13(1), 25–33. https://doi.org/10.9790/0837-1312533
Amaefula, R. C. (2016). Morality and video film in a networked society: The Nigerian example. A Journal of Theatre & Media Studies, 1(2), 168–176. https://www.researchgate.net/publication/327745497_Morality_and_Video_Film_in_a_Networked_Society_The_Nigerian_Example
Arthur, T. (2014). Reimagining the “blockbuster” for Nigerian cinema: The Nollywood narrative aesthetic of affective spectacle. The Journal of Pan African Studies, 6(9), 101–116. https://www.jpanafrican.org/docs/vol6no9/6.9-7-Arthur.pdf
Baghana, J., & Voloshina, Т. G. (2023). Nigerian film industry and screenplay text: Historical and linguo-socio-cultural symbiosis. Nauchnyi Dialog, 12(1), 132–150. https://doi.org/10.24224/2227-1295-2023-12-1-132-150
Cha, J. (2013). Predictors of television and online video platform use: A coexistence model of old and new video platforms. Telematics and Informatics, 30(4), 296–310. https://doi.org/10.1016/j.tele.2013.01.001
Chimbuto, J. G. S. (2016). The representation of women in Nollywood films [Doctoral thesis, University of Roehampton]. https://pure.roehampton.ac.uk/portal/en/studentTheses/the-representation-of-women-in-nollywood-films
Dairo, M. (2021). The role of indigenous films in preserving Nigerian culture: Analysis of Efunsetan Aniwura. Journal of Culture, Society and Development, 65, 17–23. https://doi.org/10.7176/JCSD/65-03
Dixon, D. P., & Zonn, L. E. (2004). Film networks and the place(s) of technology. In S. D. Brunn, S. L. Cutter, & J. W. Harrington (Eds.), Geography and technology (pp. 243–266). Springer Netherlands. https://doi.org/10.1007/978-1-4020-2353-8_11
Durkheim, E. (1973). Emile Durkheim on morality and society (R. N. Bellah, Ed.; First edition). University of Chicago Press.
Ekron, Z. (2011). A critical and functional analysis of the mirror metaphor with reference to the media’s responsibility towards society. Global Media Journal African Edition, 2(1), 80–87. https://doi.org/10.5789/2-1-36
Ekwenchi, O. C. (2008). Popular fiction television production in Nigeria: Global models, local responses [Doctoral thesis, University of Westminster]. https://doi.org/10.34737/9156w
Elinwa, O. J. (2020). Audience readings and meaning negotiation in the film viewing space: An ethnographic study of Nollywood’s viewing center audiences. Sage Open, 10(3), 2158244020939537. https://doi.org/10.1177/2158244020939537
Emmy, U. I. (2014). Which change, what change? Glamourising social misfits in selected Nigerian home movies. International Journal of English and Literature, 5(8), 174–181. https://doi.org/10.5897/IJEL2014.0621
Esan, O. (2011). Audience appreciation of Nigerian films (Nollywood). In L. Hubner (Ed.), Valuing films: Shifting perceptions of worth (pp. 121–145). Palgrave Macmillan UK. https://doi.org/10.1057/9780230305854_8
Gerbner, G., & Gross, L. (1976). Living with television: The violence profile. Journal of Communication, 26(2), 172–199. https://doi.org/10.1111/j.1460-2466.1976.tb01397.x
Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1986). Living with television: The dynamics of the cultivation process. In J. Bryant & D. Zillmann (Eds.), Perspectives on media effects (pp. 17–40). Lawrence Erlbaum.
Harnischfeger, J. (2003). The Bakassi Boys: Fighting crime in Nigeria. The Journal of Modern African Studies, 41(1), 23–49. https://doi.org/10.1017/S0022278X02004135
Haynes, J. (2006). Political critique in Nigerian video films. African Affairs, 105(421), 511–533. https://doi.org/10.1093/afraf/adi125
Haynes, J. (2011). Nollywood in Lagos, Lagos in Nollywood films. In J. Kapur & K. Wagner (Eds.), Neoliberalism and global cinema: Capital, culture, and Marxist critique. Routledge.
Ibe, I. O., Shaka, F. O., & Uwah, I. E. (2020). Generic ideologies of popular culture in Nollywood. South-South Journal of Humanities and International Studies, 1(2), 193–208. https://ssjhis.org/wp-content/uploads/2021/07/10-Generic-Ideologies-of-Popular-Culture-in-Nollywood.pdf
Ibhakewanlan, J.-O. (2000). The African family in a global media sex-culture. Hekima Review, 23, 54–65. https://www.africabib.org/rec.php?RID=Q00030225
Ihidero, V. O. (2019). Terror thrillers and tradition: A postcolonial reading of selected African cinema. EJOTMAS: Ekpoma Journal of Theatre and Media Arts, 7(1–2), Article 1–2. https://doi.org/10.4314/ejotmas.v7i1-2.10
Ipadeola, T. (2022). Nollywood: A dark horse dreams of becoming the black swan. World Literature Today, 96(4), 30–33. https://doi.org/10.1353/wlt.2022.0167
Jedlowski, A. (2012). On the periphery of Nollywood: Nigerian video filmmaking in Italy and the emergence of an intercultural aesthetics. In C. Lombardi-Diop & C. Romeo (Eds.), Postcolonial Italy: Challenging national homogeneity (pp. 239–252). Palgrave Macmillan US. https://doi.org/10.1057/9781137281463_16
Jegede, O. B. (2011). Representation of (step) mothering and identity formation of children in plural marriage settings in two Nigerian children’s narratives. Lwati: A Journal of Contemporary Research, 8(4). https://doi.org/10.4314/LWATI.V8I4
Kurfi, M. Y., Msughter, M. E., & Mohamed, I. (2021). Digital images on social media and proliferation of fake news on COVID-19 in Kano, Nigeria. Galactica Media: Journal of Media Studies, 3(1), 103–124. https://doi.org/10.46539/gmd.v3i1.111
Li, S.-C. S. (2020). Lifestyles, technology clustering, and the adoption of over-the-top television and internet protocol television in Taiwan. International Journal of Communication, 14(0), Article 0. https://ijoc.org/index.php/ijoc/article/view/12259
Loevinger, L. (1968). The ambiguous mirror: The reflective‐projective theory of broadcasting and mass communications. Journal of Broadcasting, 12(2), 97–116. https://doi.org/10.1080/08838156809386232
Loevinger, L. (1971). The voiceless muse—A story about television. Performing Arts Review, 2(1), 39–56. https://doi.org/10.1080/00315249.1971.9943325
Mangot, A., & Murthy, V. (2017). Cinema: A multimodal and integrative medium for education and therapy. Annals of Indian Psychiatry, 1(1), 51. https://doi.org/10.4103/aip.aip_13_17
McCain, C. (2012). Video exposé: Metafiction and message in Nigerian films. Journal of African Cinemas, 4(1), 25–57. https://doi.org/10.1386/jac.4.1.25_1
McCall, J. C. (2002). Madness, money, and movies: Watching a nigerian popular video with the guidance of a native doctor. Africa Today, 49(3), 79–94. https://www.jstor.org/stable/4187517
McCall, J. C. (2004). Juju and justice at the movies: Vigilantes in Nigerian popular videos. African Studies Review, 47(3), 51–67. https://doi.org/10.1017/S0002020600030444
McQuail, D. (1987). Processes of media effects. In O. Boyd-Barrett & P. Braham (Eds.), Media, knowledge and power. Routledge.
Mo, B. (2015). Demography and medical education among Nigerian final year medical students-implication for regional and human resource development. Journal of Health Education Research & Development, 03(03). https://doi.org/10.4172/2380-5439.1000150
Msughter, A. E., & Iman, M. L. (2020). Internet meme as a campaign tool to the fight against COVID-19 in Nigeria. Global Journal of Human-Social Science, 20(A6), 27–38. https://gjhss.com/index.php/gjhss/article/view/1966
Musa, B. A. (2019). Nollywood and the glocalization of prosocial entertainment. In B. A. Musa (Ed.), Nollywood in glocal perspective (pp. 127–144). Springer International Publishing. https://doi.org/10.1007/978-3-030-30663-2_7
Nbete, A. D., & Ikiroma-Owiye, S. (2015). Film and cultural imperialism in Nigeria: A critical developmental perspective. The Crab: Journal of Theatre and Media Arts, 9, 123–138. http://crab.uniport.edu.ng/images/crab_journal_2014/Film%20and%20Cultural%20Imperialism%20in%20Nigeria_AlubaBari_D_Nbete_Somieari_I_Owiye.pdf
Nevzat, R. (2018). Reviving cultivation theory for social media. The Asian Conference on Media, Communication & Film 2018: Official Conference Proceedings. https://papers.iafor.org/submission42554/
Obong, U. A., Ukpabio, E. I., & Etifit, S. A. (2023). Film, propaganda, and the “New Nigeria” national philosophy. Galactica Media: Journal of Media Studies, 5(2), 61–82. https://doi.org/10.46539/gmd.v5i2.361
Ogunnubi, O., & Idowu, D. L. (2022). Nollywood, the orange economy and the appropriation of Nigeria’s soft power. In T. Afolabi, O. Ogunnubi, & S. T. Ukuma (Eds.), Re-centering cultural performance and orange economy in Post-Colonial Africa (pp. 141–158). Springer Nature Singapore. https://doi.org/10.1007/978-981-19-0641-1_9
Ojobor, I. (2002). Mass communication theories. In C. Okunna (Ed.), Teaching mass communication: A multidimensional approach. New Generation Books.
Okafor, A. K. (2018). Sexuality and womanhood in selected Nigerian film. Creative Artist: A Journal of Theatre and Media Studies, 12(2), Article 2. https://www.ajol.info/index.php/cajtms/article/view/197822
Okwori, J. Z. (2003). A dramatized society: Representing rituals of human sacrifice as efficacious action in Nigerian home-video movies. Journal of African Cultural Studies, 16(1), 7–23. https://doi.org/10.1080/1369681032000169230
Ola, Y. (2013). Satires of power in Yoruba visual culture. Carolina Academic Press.
Olayiwola, A. (2023). Gendered Nollywood: The crisis of femininity in contemporary Nigerian films. International Review of Humanities Studies, 8(1), Article 15. https://doi.org/10.7454/irhs.v8i1.1014
Omoera, O. S. (2014). An assessment of the economics of the Benin language film in Nigeria. Quarterly Review of Film and Video, 31(5), 387–400. https://doi.org/10.1080/10509208.2012.679516
Onuzulike, U. (2009). Nollywood: Nigerian videofilms as a cultural and technological hybridity. Intercultural Communication Studie, 18(1), 176–187. https://www.researchgate.net/publication/279533077_Nollywood_Nigerian_Videofilms_as_a_Cultural_and_Technological_Hybridity
Onwuzuruigbo, I. (2021). Rethinking ‘August Meeting’ in Southeastern Nigeria. https://doi.org/10.1163/15691330-12341543
Onyemauwa, V. U., & Akuchie, R. (2020). Thematic issues in selected Nollywood movies: A paradigm shift for the promotion of Christian virtues and morality. Evaia: International Journal of Ethics and Values, 1(1), 139–153. https://nigerianjournalsonline.com/index.php/EVAIA/article/view/1048
Peter, C. (2022). Media coverage as mirror or molder? An inference-based framework. Media and Communication, 10(3), 183–195. https://doi.org/10.17645/mac.v10i3.5453
Pilkington, F. (1956). The problem of unity in Nigeria. African Affairs, 55(220), 219–222. https://www.jstor.org/stable/718750
Potter, W. J. (1993). Cultivation theory and research: A conceptual critique. Human Communication Research, 19(4), 564–601. https://doi.org/10.1111/j.1468-2958.1993.tb00313.x
Richerson, P. J., & Boyd, R. (2006). Not by genes alone: How culture transformed human evolution (First paperback edition). University of Chicago Press.
Shrum, J., & Bischak, D. (2001). Mainstreaming, resonance, and impersonal impact: Testing moderators of the cultivation effect for estimates of crime risk. Human Communication Research, 27(2), 187–215. https://doi.org/10.1111/j.1468-2958.2001.tb00780.x
Smith, D. J. (2004). The Bakassi Boys: Vigilantism, violence, and political imagination in Nigeria. Cultural Anthropology, 19(3), 429–455. https://doi.org/10.1525/can.2004.19.3.429
Sofradžija, H. (2020). Technosociality and the rise of the network society. In I. Karabegović (Ed.), New technologies, development and application III (Vol. 128, pp. 432–436). Springer International Publishing. https://doi.org/10.1007/978-3-030-46817-0_49
Sperber, D., & Hirschfeld, L. A. (2004). The cognitive foundations of cultural stability and diversity. Trends in Cognitive Sciences, 8(1), 40–46. https://doi.org/10.1016/j.tics.2003.11.002
Thangavelu, A. P. (2020). Film as a reflection of society: Reception of social drama in Tamil cinema. In S. K. Biswal, K. S. Kusuma, & S. Mohanty (Eds.), Advances in religious and cultural studies (pp. 185–196). IGI Global. https://doi.org/10.4018/978-1-7998-3511-0.ch016
Tsaaior, J. T. (2018). “New” Nollywood video films and the post/nationality of Nigeria’s film culture. Research in African Literatures, 49(1), 145. https://doi.org/10.2979/reseafrilite.49.1.09
Udoh, A. P., & Etteyit, A. S. (2020). Nollywood video films and the Nigerian image crisis: A study of ten films. In F. P. C. Endong (Ed.), Advances in Media, Entertainment, and the Arts (pp. 207–224). IGI Global. https://doi.org/10.4018/978-1-5225-9821-3.ch008
Ugochukwu, F. (2017). Changing Nigerian cultures: Two films against witchcraft and an impossible dialogue. In J. Tsaaior & F. Ugochukwu (Eds.), Nigerian film culture and the idea of the nation: Nollywood and national narration (pp. 73–92). Adonis & Abbey. http://adonisandabbey.com/book_detail.php?bookid=234
Ugochukwu, F. (2019). Ije The Journey (2010), a message on migration and violence. Journal of African Films & Diaspora Studies, 2(1), 43–53. https://doi.org/10.31920/2516-2713/2019/2n1a3
Ugor, P. (2009). Youth culture and the struggle for social space: The Nigerian video film [Doctoral thesis, University of Alberta]. https://doi.org/10.7939/R37D2X
Ukwueze, C. A., & Uzochukwu, U. P. E. and C. E. (2019). Nollywood films representation of cultism and ritual murder in Nigeria, real or imagined? An audience assessment. International Journal of Communication and Media Science, 2(2), 11–24. https://doi.org/10.14445/2349641X/IJCMS-V2I2P109
Umeaka, M.-C. C. (2020). Comparative studies of old and new Nollywood’s narrative pattern; A case study of Kenneth Nnebue’s Living in Bondage and Kunle Afolayan’s Irapada [Bachelor’s thesis, Kwara State University]. https://doi.org/10.13140/RG.2.2.33724.45440
Uwah, I. E. (2009). From rituals to films: A case study of the visual rhetoric of Igbo culture in Nolywood films [Doctoral thesis, Dublin City University]. https://doras.dcu.ie/14914/
Uwakwe, O. (2010). Mass communication theories. In K. Nworgu (Ed.), Mass communication: Theory and practice. Ultimate Books.
Wimmer, R., & Dominick, J. (2013). Mass media research: An introduction (10th edition). Cengage Learning.
Zajc, M. (2009). Nigerian video film cultures. Anthropological Notebooks, 15(1), 65–85. https://anthropological-notebooks.zrc-sazu.si/Notebooks/article/view/341