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Relevant bibliographies by topics / Nigerian video films

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Journal articles

Academic literature on the topic 'Nigerian video films'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Nigerian video films"

1

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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2

Ezejideaku, Emmanuel, and Esther Nkiru Ugwu. "Igbo English in the Nigerian video film." English World-Wide 30, no. 1 (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 Engli

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3

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

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4

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

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5

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 ap

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6

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

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7

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

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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 (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 Nigerian

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9

Krings, Matthias. "Muslim Martyrs and Pagan Vampires." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (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

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10

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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