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Artykuły w czasopismach na temat „Nollywood films”

Autor: Grafiati

Data publikacji: 2 czerwca 2025

Data aktualizacji: 31 lipca 2025

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Oroma Lois, WORLU,, Harcourt-Whyte, Ofonmbuk, and Stella C. Enyindah. "The Influence of Nollywood Female Representations on Perception in Rivers State: An Analysis of Adire (2023) and Wura (2023)." International Journal of Research and Innovation in Social Science IX, no. V (2025): 3010–25. https://doi.org/10.47772/ijriss.2025.905000235.

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This study investigated the influence of female representations of women in Rivers State, Nigeria, focusing on gender depiction in select Nollywood films. The study employs a descriptive survey research approach complemented by content analysis of two contemporary Nollywood films, Adire (2023) and Wura (2023), to explore the influence of Nollywood’s representation of women on perception in Rivers State. The findings reveal that while Nollywood films have made some progress in diversifying female character roles, traditional gender stereotypes such as women being primarily depicted in domestic,

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Adesemoye, Steven Anu'. "Perception and Acceptance of Nollywood as Nigeria’s Cultural Ambassador among University Students." European Journal of Communication and Media Studies 2, no. 4 (2023): 9–18. http://dx.doi.org/10.24018/ejmedia.2023.2.4.3.

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Nollywood is considered the site of popular culture and harbinger of cultural renaissance, especially amongst young adults confronted daily with the remote acculturation that foreign films offer. While many stakeholders believe that Nollywood, the second most prolific film industry, dispenses cultural knowledge and memory across borders, Nigerian tertiary students are suspected of preferring Western flicks or vacillating between foreign and local films. Consequently, this study was conceived to ascertain if Nigerian students perceive Nollywood as a cultural industry and Nigeria’s cultural amba

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Ryan, Connor. "New Nollywood: A Sketch of Nollywood’s Metropolitan New Style." African Studies Review 58, no. 3 (2015): 55–76. http://dx.doi.org/10.1017/asr.2015.75.

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Abstract:Recent experimentation by Nollywood producers has encouraged increasing differentiation of film practices as a strategy for contending with a demanding video market. “New Nollywood” refers to a select group of aesthetically sophisticated films intended for a new tiered distribution method, beginning with theatrical release and ending with DVD release. Nigeria’s upscale multiplex cinemas are therefore a starting point for examining what is new—and not so new—in Nollywood. This article argues that New Nollywood films and the cinemas in which they appear appeal directly to spectators’ se

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Okwulogu, Maureen. "Cultural Specificity in Nollywood comedy films." International Journal of Research in Social Science and Humanities 06, no. 01 (2025): 71–78. https://doi.org/10.47505/ijrss.2025.1.5.

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In his seminal work on humor, Noel Carroll suggests that comedy is deeply rooted in the cultural context in which it originates, and its resonance may be confined to specific societies, struggling to transcend national boundaries. This paper explores Carroll's assertion within the context of Nollywood, Nigeria's vibrant and diverse film industry. With over 250 ethnic groups, numerous languages, and a wide range of comedic sensibilities, Nollywood offers a compelling case study for investigating the culturalspecificity of comedy. This study focuses on two Nollywood films, The Wedding Party Part

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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 (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 thes

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Tsika, Noah. "Nollywood internationalism: Filmic entanglements on Nigerian terrain." Journal of African Cinemas 16, no. 2 (2024): 169–86. https://doi.org/10.1386/jac_00119_1.

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Nollywood’s global diffusion is presently dependent as much on American corporations like Netflix and Amazon – prominent sources of streaming versions of Nollywood films – as on continuous Afro-diasporic practices of bootlegging and gift exchange. But its past was at least as haunted by Hollywood as its much-streamed, multiplexed present. This article considers the longstanding imbrication of Nollywood and Hollywood as generative of multiple, contested ‘images of Africa’, arguing that we must resist binary oppositions between the two geocultural sites of cinema and instead insist on a producti

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Haynes, Jonathan. "Nollywood in Lagos, Lagos in Nollywood Films." Africa Today 54, no. 2 (2007): 130–50. http://dx.doi.org/10.2979/aft.2007.54.2.130.

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Odedina, Joe. "Aesthetic of Choreographic Stunts in the Nigerian Nollywood." Cognizance Journal of Multidisciplinary Studies 5, no. 1 (2025): 534–43. https://doi.org/10.47760/cognizance.2025.v05i01.042.

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The Nigerian Nollywood has validated itself through the recent ranking by placing second to Bollywood of India and third to Hollywood of America in its popularity positioning. This acceptance is as a result of its rich content, treatment of social vices and the celebration of Nigeria’s multi-plurality. However, most of the films are bereft of rich choreographic stunts. Indeed, choreographic stunts are seen as ingeniously deployed creative additions that spice up the overall aesthetics of film. Consequently, the study examines the aesthetic of choreographic stunts in the Nigerian Nollywood thro

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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 (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 precisel

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Endong, Floribert Patrick C. "From “Makers of Images” to Cineastes? Looking Critically at Festivals and Critics’ Reception of Nollywood." CINEJ Cinema Journal 11, no. 1 (2023): 358–86. http://dx.doi.org/10.5195/cinej.2023.533.

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At its inception in the early 1990s, the Nollywood film movement did not attract a positive appraisal from most “learned” critics. Its non-conformist approach to filmmaking made most critics to associate it with the act of just “making images” as well as a lack of respect for cinema. Even major film festivals seemed “not friendly” to Nollywood films. Today, the quality of Nollywood films has remarkably improved even though much is still to be done. However, it remains important to examine if such improvement in quality has affected international film critics’ reception of Nollywood films. Usin

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Oroma Lois, WORLU,, and Dr Ofonmbuk Harcourt-Whyte. "Gender Dynamics in Developing Countries: Evaluation of Nollywood Depiction of Women in Rivers State, Nigeria." International Journal of Research and Innovation in Social Science IX, no. XIII (2025): 60–71. https://doi.org/10.47772/ijriss.2025.913com007.

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This study explored the perception of Rivers State residents regarding the depiction of women in Nollywood movies, focusing on the films Adire (2023) and Wura (2023). Using a qualitative content analysis and interviews with six key respondents, including film directors, communications experts, a community leader, and a social commentator, the study investigated how Nollywood’s portrayal of women reflects and reinforces societal norms. The findings reveal that these films predominantly depict women in traditional and stereotypical roles, such as caregivers and homemakers, with limited represent

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Idyo, Solomon, and Adediran Kayode Ademiju-Bepo. "Nollywood films and the Niger delta crisis of ecology in Nigeria." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 24, no. 2 (2024): 159–69. http://dx.doi.org/10.4314/ntj.v24i2.4.

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The discovery of oil in the Niger Delta region of southern Nigeria in 1956 at Oloibiri, has brought myriads of problems to the region. For decades, there have been agitations and attendant crises resulting in repeated loss of lives and properties and monumental destruction of the ecosystem. Several interventions, including from Nollywood, and countless efforts at finding a solution to the conflicts have been deployed. This paper undertakes an assessment of the progress of actionable measures taken, primarily by the government and oil companies, in curbing environmental degradation and injustic

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Edosomwan, Aifuwa, and Uzoma Okoro. "Culture and identity in New Nollywood films: Trends in Indigenous and foreign language cinema." Journal of African Cinemas 16, no. 2 (2024): 221–35. https://doi.org/10.1386/jac_00116_1.

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This article explores how New Nollywood films promote and preserve Nigerian cultures, particularly languages, taking The Wedding Party 2 as a case study. It addresses three questions: (1) how extensively are Indigenous Nigerian languages featured in New Nollywood films, notably those with increased visibility through theatrical releases? (2) In what ways does the language usage in these films contribute to showcasing and preserving the array of cultures found across Nigeria? (3) Taking The Wedding Party 2 as a case study, how does this popular film from New Nollywood either align with or chall

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Arthur, Tori. "Nollywood Afrogeeks." International Journal of E-Politics 7, no. 3 (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 an

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Charles, Okwuowulu. "Unmasking a Nollywood Auteur: Kabat Esosa Egbon's Embattled-Character Techniques in Selected Films." NDỤÑỌDE : Calabar Journal of The Humanities 13, no. 2 (2018): 473–83. https://doi.org/10.5281/zenodo.1469089.

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Abstract Since its evolution, academic interest has rapidly grown in the Nigerian popular culture; Nollywood. Film scholars have made concerted efforts to either develop new film theories which will be peculiar to the atypical Nollywood industry or to contextualize the existing universal film theories towards the study of Nollywood films. The contextualization of auteur (author) theory, a universal film theory in the study of Nollywood film culture is one of those laudable efforts by film scholars. In this light, various attempts by many film scholars in Nollywood to examine selected Nollywood

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Frempong, Debbie. "“Have You Eaten?” Portrayals of Deviant Women in Nollywood." Black Women and Religious Cultures 1, no. 1 (2020): 78–88. http://dx.doi.org/10.53407/bwrc1.1.2020.100.04.

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This paper explores filmic representations of womanhood in Nollywood, Nigeria’s largest film industry. Focusing on three different films over the span of 10 years, the essay argues that Nollywood’s engagements with Christian moral norms significantly impacts its portrayals of women, producing specific narratives around deviance and its accompanying failures of womanhood. It also shows how these narratives are differentiated through social class, as they highlight the institutionalized capitalist-sexist nature of the professional sphere women have to navigate. Traversing the public-private sphe

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Dr., Heavens Ugochukwu Obasi1* GBARUKO NDUBUISI CHRISTOPHER2 Dennis Emeka Ubani3. "ABIA RESIDENTS' PERCEPTION OF THE REPRESENTATION OF WOMEN IN NOLLYWOOD FILMS." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) III, no. III (2025): 122–38. https://doi.org/10.5281/zenodo.15448406.

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<em>This study was conducted to evaluate and ascertain Abia residents’ perception of the representation of women in Nollywood films. Using the survey research method the researcher sought the opinions of residents in Abia state regarding how they perceive the representation of women in Nollywood films. Using the survey research method, the researcher sought the opinions of residents in Abia state regarding how they perceive the representation of women in Nollywood films. The Cultivation Theory and The Reinforcement Theory of mass communication served as a theoretical framework for the st

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Dr., Heavens Ugochukwu Obasi1* GBARUKO NDUBUISI CHRISTOPHER2 Dennis Emeka Ubani3. "ABIA RESIDENTS' PERCEPTION OF THE REPRESENTATION OF WOMEN IN NOLLYWOOD FILMS." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) III, no. III (2025): 122–38. https://doi.org/10.5281/zenodo.15448994.

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<em>This study was conducted to evaluate and ascertain Abia residents’ perception of the representation of women in Nollywood films. Using the survey research method the researcher sought the opinions of residents in Abia state regarding how they perceive the representation of women in Nollywood films. Using the survey research method, the researcher sought the opinions of residents in Abia state regarding how they perceive the representation of women in Nollywood films. The Cultivation Theory and The Reinforcement Theory of mass communication served as a theoretical framework for the st

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ENYINDAH, Stella Chinyere, and Onyeka Ebiere DONLI. "AN ANALYSIS OF SELECT NOLLYWOOD FILM AS A PURVEYOR OF NIGERIA'S IMAGE AND CULTURAL DEVELOPMENT." Interdisciplinary Journal of Linguistics, Marketing and Communication 10, no. 3 (2023): 86–101. https://doi.org/10.5281/zenodo.8234810.

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This study sought to establish the significance of Nollywood films as a purveyor of Nigeria’s cultural development. The study was anchored on the Bullet theory of Harold Lasswell. The study adopted empirical qualitative research methodology in form of ethnographic investigation. The primary sources of data for this study include the use of selected Nollywood video films such as: ‘<em>Lionheart</em>’ directed by Genevieve Nnaji 2018<strong>. S</strong>econdary data include existing scholarly literatures such as books, journals, theses, newspapers, magazines, internet sources,

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Endong, Floribert Patrick C. "The Westernization of the African zombie in Nollywood Films." International Journal of Modern Anthropology 2, no. 17 (2022): 720–50. http://dx.doi.org/10.4314/ijma.v2i17.2.

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The Nigerian film industry (nicknamed Nollywood) has, over the years, embraced foreign influences as a form of newness and singularity. Many films produced in the industry have displayed the capacity to re-contextualize and indigenize specific forms and styles associated with the global mass culture, including Hollywood horror films and the zombie genre. Thus, there have been at least two ways of representing zombies in the Nollywood films. While most films have depicted zombies according to local African or Nigerian myths, a certain number of recently produced films have displayed representat

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Endong, Floribert P. C. "Cast Me not as a Succubus or a Jezebel: Nollywood Actresses and the Struggle against Women Stereotyping." Inkanyiso 13, no. 2 (2021): 13. http://dx.doi.org/10.4102/ink.v13i2.4.

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The stereotyping and sexual objectification of womanhood in Nollywood films have partly been attributed to Nigerian actresses. According to a number of critics and scholars, female actors’ passivity and complicity are to blame for the continuous negative portrayals of women in films. This popular belief follows from the arguable myth that female actors most often accept demeaning roles in films; meanwhile, it is axiomatic that if they reject such roles, androcentric/sexist screen writers will be compelled to develop better female characters for their films. If the above logic seems pertinent,

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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 (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 t

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Jedlowski, Alessandro. "Small Screen Cinema." Television & New Media 13, no. 5 (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 produ

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Okeke, Adaobi Olivia, Chibuike Julius Nwosu, and Chinazom Lilian Ajagu. "Accessibility of Online Nollywood Films: The Place of You-Tube." International Journal of Research and Innovation in Social Science VII, no. VI (2023): 1552–61. http://dx.doi.org/10.47772/ijriss.2023.7733.

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In the world of today, technology has become an ordinary component of everyday living as it has influenced almost all facets of life and is no longer seen as a luxury. Its influence has been evident in most sectors of the Nigerian economy particularly in the entertainment sector. The Nigerian film industry known as Nollywood has experienced its own share of technological upheaval. Having a past dating back to over 45 years, Nollywood films were watched on television and then video cassettes, Pay TV,CD and DVD plates respectively. As time went on, technology became more sophisticated and digita

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Endong Floribert Patrick C. and Princess Emike Umole. "Political and Cultural Dynamics in Bollywood and Nollywood Films: A Comparative Perspective." International Journal of Media and Communication Research 5, no. 2 (2024): 01–13. http://dx.doi.org/10.25299/ijmcr.v5i2.12403.

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Films are popularly believed to be reflection of reality as well as a representation of the societies in which they were produced. They are excellent windows into their societies of origin and could thus serve as good anthropological or historical documents containing data about socio-political events that have happened in their societies of origin. One of the multiple data one can extract/gather from films is the socio-cultural and political dynamics prevailing in the society in which the films subsist. This paper attempts to illustrate this thesis through a review of relevant Bollywood and N

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Endong, Floribert Patrick C. "Nollywood Celebrities and the Emergence of Pro-Nigeria Fan Cultures in Cameroon: A Conceptual Discourse." International Journal of Modern Anthropology 2, no. 19 (2023): 1216–32. http://dx.doi.org/10.4314/ijma.v2i19.9.

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Like other world cinemas, Nollywood has since its inception in the 1990s, engendered actor fandom inside and outside Nigeria. Indeed, the trans- nationalisation and explosion of Nollywood have enabled the popularity not only of Nigerian films, but also of Nollywood stars, in countries across the world. As mentioned in passing by a number of commentators, Nollywood celebrities have rapidly become stars in such places as African Diasporas in the West, in Caribbean countries and most especially in Africa. In tandem with this, a number of Nigerian actors have, thanks to their popularity, been recr

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Nkemakonam, Aniukwu (PhD). "The Screen Institution and Child's Models in Nollywood Fictional Reality Films: An Example of Two Rabbits." INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND ANALYSIS 06, no. 08 (2023): 3626–34. https://doi.org/10.5281/zenodo.8252341.

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Child education in Nigeria and most parts of Africa has become a serious subject matter in recent times due to some nonchalant and maladjusted behaviours witnessed in today’s kids and younger adults alike. However, in Nollywood today, the themes of hatred, deceit, gluttony, stealing, and other social vices are prevalent in some children films. This research is centred on finding out the reasons for such increase in dubious behaviours amongst the children and thus adopts content analysis approach of qualitative research method to evaluate a Nollywood fictional-reality film Two Rabbits sel

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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 (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. W

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Imiti, Aghogho Lucky, and Chukwuma Anyanwu. "Nollywood: Revisiting the Change Prism towards Sustaining Societal Development." Journal of Society and Media 7, no. 2 (2023): 593–607. http://dx.doi.org/10.26740/jsm.v7n2.p593-603.

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Nigeria's film industry had a significant year in 1992. Since then, numerous films have faced criticism for promoting negative behavior and attitudes. However, this study challenges those claims, demonstrating that Nollywood films can promote positive attitudes and sustainable development. The study analyzed two films: Daybreak in Udi and Nigeria: A Squandering of Riches. To achieve this goal, Nollywood is expected to facilitate the needed development through productions aimed at persuading the people to adopt values that enhance a better life and motivate them to greater heights in developmen

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NWOSU, Ugochinyere Pamela &. OBI Victor Kenechukwu. "PUBLIC PERCEPTION OF NOLLYWOOD MOVIES ON DOMESTIC VIOLENCE AMONG RESIDENTS OF OWERRI MUNICIPAL." IMSU Journal of Communication Studies 8, no. 2 (2024): 229–40. https://doi.org/10.5281/zenodo.14246566.

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The study examines how Nollywood films affect domestic violence among Owerri Municipal Council residents. Thestudy's goals were to determine the degree to which Owerri Municipal residents were exposed to domestic violencein Nollywood films, how they felt about the way domestic violence was portrayed in these films, and howNollywood films affected domestic violence among Owerri residents. The study's population consisted of the180,540 estimated residents of Owerri Municipality, and a survey research design approach was employed. Thesample size for this study was determined to be 384 Owerri Muni

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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 (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 conten

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Joe, Odedina. "Aesthetic of Choreographic Stunts in the Nigerian Nollywood." Cognizance Journal of Multidisciplinary Studies (CJMS) 5, no. 1 (2025): 534–43. https://doi.org/10.47760/cognizance.2025.v05i01.042.

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The Nigerian Nollywood has validated itself through the recent ranking by placing second to Bollywood of India and third to Hollywood of America in its popularity positioning. This acceptance is as a result of its rich content, treatment of social vices and the celebration of Nigeria’s multi-plurality. However, most of the films are bereft of rich choreographic stunts. Indeed, choreographic stunts are seen as ingeniously deployed creative additions that spice up the overall aesthetics of film. Consequently, the study examines the aesthetic of choreographic stunts in the Nigerian Nollywoo

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C. E., Barthlomew,, Obiora, A. V., Adikuru, C. C., and Nnaemeka, O. P. "Perception of Postgraduate Students on Influence of Nollywood Films in Sustaining Social Stability in Nigeria." Journal of Advanced Research and Multidisciplinary Studies 5, no. 1 (2025): 62–73. https://doi.org/10.52589/jarms-kyddgpu8.

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Communication scholars have argued in favour of Nollywood as an industry that has produced films that serve as a cultural repository, preserving and disseminating Nigerian heritage to both local and international audiences by showcasing the inherent diverse cultures. Social stability in any given society is no doubt a big step for national development, and the media has a role to play in forestalling it. Hence, this study sets out to examine the perception of postgraduate students drawn from Anambra State, Nigeria, on Nollywood films’ influence in addressing societal issues and whether they fo

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Ikani, Victoria Ugbededojo. "Exposure to TikTok Comedies and Growing Interests in Skit-Making among Undergraduates of Nasarawa State University, Keffi." International Journal of Sub-Saharan African Research (IJSSAR) 2, no. 3 (2024): 336–48. https://doi.org/10.5281/zenodo.13860924.

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<strong>Background:</strong> The proliferation of social media platforms has revolutionized entertainment and media consumption patterns globally and TikTok and Nollywood, Nigeria's film industry, have gained immense popularity, captivating millions of users and audiences.                            <strong>Objective</strong>: This study investigated the exposure to tiktok comedies and growing interests in skit-making among undergraduate students of Nasarawa state u

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Ejem, Agwu A., Ifeanyi M. Nwokeocha, Jude O. Abba Father, Nkem Fab-Ukozor, and Chinedu Ibekwe. "Sex Objects and Conquered People? Representations of women in Nigerian Films in the 21st Century." QISTINA: Jurnal Multidisiplin Indonesia 1, no. 2 (2022): 48–63. http://dx.doi.org/10.57235/qistina.v1i2.205.

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This study examined the subjugation and objectification of women in Nigerian films produced in the 21st Century to determine whether the representations of women have changed at the turn of the Century. The objectives of this study were to find out the extent of subjugation of women in Nollywood films in the 21st Century and determine the extent of objectification of women in Nollywood films in the 21st Century. This study was anchored on the feminist muted group theory. The design adopted was a mixed-method approach that combined content analysis and in-depth interviews. The researchers focus

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Marjie, Sarah. "Information repackaging: Investigating translation strategies of Nollywood movie titles in Kiswahili." Ghana Library Journal 29, no. 1 (2024): 51–62. http://dx.doi.org/10.4314/glj.v29i1.5.

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Many Nollywod movies have found their way into the Kiswahili film industry. To own the movies and make them easily absorbed into the local movie markets in Kiswahili-speaking communities, the movies usually require one of two translation strategies: voiceover /dubbing or subtitling. This study seeks to investigate the various translation strategies used in translating Nollywood movie titles into Kiswahili for the purposes of information repackaging. For this study, fifty (50) Nollywood movie titles translated into Kiswahili were analyzed through a purposive sampling method where each title was

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Ajiwe, Uchechukwu Chimezie, and Stella Uchenna Nwofor. "Supernatural Iconographies in Nollywood: A Study of Selected Nollywood Film." International Journal of Innovative Science and Research Technology 7, no. 10 (2022): 1861–68. https://doi.org/10.5281/zenodo.7332533.

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This paper looks at Supernatural iconographies as represented in Nollywood film narratives and how it replicates cultural realities of Nigerians, especially Igbo cultural ideologies and Africans at Large. Thus, the application ofvisual effects is craftily utilized in creating believable Illusions. This paper therefore, x-rays the composition of magical images, supernatural characters and effects which are the creator’s imaginations as conceived from their culture and social experiences to an audience who resonate with the images and meanings it produces. In so doing, this paper used Andy

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Mwanthi, Shadrach Moki, and Sammuel Kamau. "Exploring reasons Kenya television broadcasts Nollywood movies." Journal of Media and Communication (JMC) 2, no. 1 (2023): 62–65. http://dx.doi.org/10.51317/jmc.v2i1.352.

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This paper sought to explore why Kenya television airs Nollywood movies. The study adopted a qualitative research method. It targeted Citizen and Kiss Televisions’ production managers, focus groups and Nigerian Movie fans. The households were selected randomly. The research consulted documentary sources on Nigerian movies in Kenya. This included gathering information from the internet, Newspapers and research was done by Synovate on Nigerian movie audiences. The obtained data were analysed using descriptive statistics such as mean, mode, percentages, and frequencies. The study concludes that g

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Vitalis, Perpetua Ogechi, Richard N. Amadi, and Dike Harcourt Whyte. "Social Construct of Nollywood Films and Ethnocentrism in Southern Nigeria." CINEJ Cinema Journal 12, no. 2 (2024): 152–79. https://doi.org/10.5195/cinej.2024.632.

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In this paper, the study engages the post nationality of Nollywood, which is manifest in its traveling patterns and its transgression of cartographic boundaries to engage diasporic communities around the world. Of particular interest of the study are how Nollywood has emerged as the third biggest film industry in the world, after Hollywood and Bollywood, from its humble Nigerian beginnings and how this post national character has been acquired and sustained.

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Izuegbuna, O. "Nollywood and Cancer: A Workable Partnership." Journal of Global Oncology 4, Supplement 2 (2018): 140s. http://dx.doi.org/10.1200/jgo.18.58100.

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Background and context: The Nigerian film industry also known as Nollywood is the biggest in Africa and the second largest in the world in terms of annual production. Nollywood produces hundreds of films every year, most of them low budget straight to DVD tapes. As at 2014 Nollywood had an estimated gross worth of about 5 billion U.S. dollars. It also employs about a million people in the country. Nollywood has since inception been able to blend historical facts with good imagination to create and sustain our society. It has done this across most genres, but a few. Health issues such as cancer

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Bature-Uzor, Nkechi, Uchechukwu Ajiwe, and Chinenye Uche. "Portraits of Nudity and Sexual Images in Nollywood's Cinematic Films." International Journal of Innovative Research in Arts, Education and Technology 3, no. 1 (2025): 84–98. https://doi.org/10.48028/iiprds/ijiraet.v3.i1.09.

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The way in which nudity and sexual images are being depicted in Nollywood film narratives shows influence of foreign culture and misinterpretation of African ideological world view. Therefore, this research explores the portrayal of nude and sexual images in Nollywood movies, thereby highlighting the way in which explicit content are being depicted in Nollywood films. This research is anchored on the framework of voyeurism theory and adopts the qualitative research design to investigate the visual pleasure of the representation of nudity and sexual images in Demeji Ajibola's Shantytown. Findin

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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 ap

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Dr., Arinze-UmobiSomtoo.O, and Princess Chiweta-Oduah Onyinye. "Culture: Understanding the Place of Film in Promoting and Preserving the African Culture." International Journal of Arts and Social Science 3, no. 3 (2023): 241–49. https://doi.org/10.5281/zenodo.7721615.

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: Nollywood films have presently been made available by content providers to different individuals both home and in the diaspora due to the availability of various new media platforms supported by technology. Due to globalization and the exponential rate at which those in the developing world are embracing western cultures, concerns have been raised as to the future of African cultural heritage. Consequently, this study examined the role of Nollywood films in promoting and preserving the African culture. The Focus Group Discussion (FGD) qualitative method was adopted involving 16 discussants.

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Ryan, Connor. "Dark and gritty/slick and glossy: Genre, Nollywood and Lagos." Journal of African Cinemas 11, no. 3 (2019): 295–313. http://dx.doi.org/10.1386/jac_00022_1.

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Abstract In this article, I am concerned principally with Taxi Driver (Oriahi, 2015), Gbomo Gbomo Express (Taylaur, 2015), Just Not Married (Patrick, 2016), Ojukokoro (Greed) (Olaitan, 2016) as well as Catch.er (Taylaur, 2017). These films are characterized as much by the depiction of clever criminals as the cultivation of a cynical disposition from which transgressions of this sort appear stylish and violence is rendered 'cool'. Almost all of them turn on a scheme to dupe others of a large sum of money, and are punctuated by backstabbing partners in crime, tables turning by chance, edgy armed

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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 (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, whic

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U.A., Kelechi, and Nicholas C.A. "The Representation of Rape in Kunle Afolayan’s October 1 and Moses Inwang’s Alter Ego." African Journal of Social Sciences and Humanities Research 6, no. 6 (2023): 124–38. http://dx.doi.org/10.52589/ajsshr-6jdmepb8.

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Rape is one of the serious crimes committed every day in Nigeria with many negative effects on victims, perpetrators, and society. However, the enormity of the crime is not fully represented in Nollywood films leading to subpar treatment of rape as a subject matter in most Nigerian films. Using a descriptive approach, the study examined the subject of rape in Kunle Afulanyo’s October 1 and Moses Inwang’s Alter Ego. These films were selected using a purposive sampling technique that enabled the researchers to select from several Nollywood films that dwell on the issue of sexual violence. The st

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Maureen, Okwulogu. "Sociological Portrayal of Lagos in Nigerian Cinema: A Multifaceted Analysis." Saudi Journal of Humanities and Social Sciences 8, no. 11 (2023): 337–41. http://dx.doi.org/10.36348/sjhss.2023.v08i11.001.

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Lagos, Nigeria, renowned for its multicultural history, is explored in this article within the context of Nigerian cinema and sociological perspectives. This article investigates how Nollywood films depict Lagos using sociological theory that emphasizes representing society as it is. It begins with the city's historical evolution, emphasizing its role as Nigeria's entertainment capital and its impact on the film industry. The article underlines how Nollywood films influence perceptions of Lagos, advocating for balanced portrayals. It analyzes three Nollywood films to illustrate the city's dive

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Stevenson Omoera, Osakue. "The Imasuen factor in the Benin language videofilm sector of Nollywood." Issue 1 1, no. 1 (2018): 7–21. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a1.

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The phenomenal rise of Lancelot Oduwa Imasuen (LOI) as a filmmaker and director in Nollywood and indeed in Africa is worth probing and documenting for posterity of scholars and professionals, especially against the backdrop of his native Benin (Edo) language videofilm industry and tradition, which he has given his gestaltist support so effusively in terms of technical finesse, global exposure, great storylines, actor/talent development and business architecture, among others. Using the interview, direct observation and literary methods, this article engages LOI in a conversation aimed at unbur

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Ademuyiwa, Adejoke Adetoun, and Eunice Uwadinma-Idemudia. "Audience Study as Catalyst in Sustainable Nollywood Yoruba Film Industry." Yoruba Studies Review 5, no. 1.2 (2021): 1–14. http://dx.doi.org/10.32473/ysr.v5i1.2.130122.

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Nollywood is the representation of the socio-cultural apparatus of Nigeria in the world cinema. Tis paper evaluates generally, film audience’s perspective in Nollywood films, and in particular non-native actors in native films. Most often, stakeholders in the film industry do not access, or are flagrantly ignorant of viewer’s feedback on the state of their production in all media of communication. Some determine this with the profit margins. Tis paper therefore evaluates the audience’s perception of non-native actors in Nollywood Yoruba native films. The area of concentration is on the quality

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Afolabi, Ololade. "From Nollywood to the World: A Cultural Studies and Critical Discourse Analysis of Nollywood Films on Netflix." International Journal of Mass Communication 2 (October 25, 2024): 33–44. http://dx.doi.org/10.6000/2818-3401.2024.02.04.

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This study examines the transnationalization of the Nollywood industry in the rise of streaming platforms like Netflix. As nonwestern film industries begin to find global audiences beyond their local space, ideological underpinnings of these industries also continue to shift and become more apparent. The need to compete for global capital while retaining the cultural flavor of the South has been a major challenge of many transnational media industries. Taking Nollywood as a case study, this study argues that the production of Nollywood films on Netflix goes beyond the quest to find global mark

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