Araştırma Makalesi
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Framing Gender Issues in Selected Nollywood Narratives

Yıl 2024, , 1 - 22, 08.07.2024
https://doi.org/10.26650/Filmvisio.2024.0001

Öz

The resonance of debates and criticisms by media and feminist scholars about the huge disparity characterising the depiction of male and female gender in film narratives has necessitated the need to re-examine the representation of both genders in film narratives. Employing the mixed research modalities of content analysis, sampling, historicocritical, and key informant interview methods, this study investigates the framing of gender issues in selected Nollywood narratives. Anchored in the Framing Theory, the population of study comprised the 3,334 films produced in 2019, 2021, and 2022, out of which three widely acclaimed films -Merry Men 2 (Moses Inwang, 2019), One Lagos Night (Ekene Som Mekwunye, 2021), and Anikulapo (Kunle Afolayan, 2022)- were purposively sampled and content analysed with an intention to unpacking the frames through which the filmmakers presented the male and female characters to the audience. Five juxtaposed and contradictory frames took centre stage in the analysis: Macho men versus weak women, objects of decency versus objects of seduction and sexploitation, the alpha male gazer versus the female object, diligent husbands versus lazy and full-time housewives, and benevolent men versus malevolent women. Since films are largely reflective of trends within the filmmakers’ sociocultural milieu, it is concluded that much of the blame is not apportioned to the filmmakers. Nonetheless, since filmmakers wield much power regarding correcting wrong notions and ideologies in every society, the point is emphasised that Nigerian filmmakers or Nollywood content creators (NCCs) should rethink the framing of women in film narratives.

Kaynakça

  • Adinlewa, T., & Ojih, S. (2018). Analysis of gender roles in select Nigerian television commercials. Novena Journal of Communication, 5, 141-157. google scholar
  • Adelakun, A. (2010, May 28). Nollywomen and the search for better representation. Modern Ghana. https://www. modernghana.com/nollywood/7536/nollywomen-and-the-search-for-better-representation.html google scholar
  • Afolayan, K. (Director). (2022). Anikulapo [Film]. KAP Motion Pictures. google scholar
  • Amonyeze, C., Nwafor, C., & Agbo, O. (2023). The ornamentalization of masculinity in selected Nollywood films. Cogent Arts & Humanities, 10(1), 1-14. google scholar
  • Asemah, E., Nwammuo, A., & Nkwam-Uwaoma, A. (2017). Theories and models of communication. Jos University Press. google scholar
  • Ayo-Aderele, A. (2016, October 14). My wife belongs to my kitchen, the other room -Buhari. Punch. https:// punchng.com/wife-belongs-kitchen-buhari/ google scholar
  • Babatope, B. (2016). Gender and sexual politics in Tunde Kelani’s Narrow Path. In O. Okome & M. Okhakhu (Eds.), Media studies in Nigeria: Genesis and detours (pp. 169-186). Stirling-Hordens Publishers Limited. google scholar
  • Blackstone, A. M. (2003). Gender roles and society. In J. R. Miller, R. M. Lerner, & L. B. Schiamberg (Eds.), Human ecology: An encyclopedia of children, families, communities, and environments (pp. 335-338). ABC-CLIO Publishers. google scholar
  • Browne, E. (2019). Gender norms, LGBTI issues and development: A topic guide. https://www.alignplatform.org/ sites/default/files/2021-08/gender_norms_and_lgbtqi_issues.pdf google scholar
  • Chimbuto, J. (2016). The representation of women in Nollywood films: An investigation of its impact on audiences in Malawi [Doctoral dissertation, University of Roehampton]. https://pure.roehampton.ac.uk/ws/portalfiles/ portal/399877/Joseph_Chimbuto_Thesis.pdf google scholar
  • Cilliers, C. P. (2014). A semiotic multimodal analysis and South African case study: The representation and construction of masculinities in Men’s Health (SA) [Doctoral dissertation, University of South Africa]. https:// uir.unisa.ac.za/handle/10500/18197 google scholar
  • Cortez, C. Duchicela, L., Lord, J., & Mcclain-Nhlapo, C. (2019). Equity and inclusion in education in World Bank projects: Persons with disabilities, indigenous peoples, and sexual and gender minorities. https:// documents1.worldbank.org/curated/en/590781562905434693/pdf/Equity-and-Inclusion-in-Education-in-World-Bank-Projects-Persons-with-Disabilities-Indigenous-Peoples-and-Sexual-and-Gender-Minorities.pdf google scholar
  • Dutt, R. (2014). Behind the curtain: Women’s representations in contemporary Hollywood. London School of Economics and Political Science. google scholar
  • Elegbe, O. (2022). Women: The ‘burden bearers’ in Tunde Kelani’s: Arugba (2008). International Journal of Gender Studies & Research, 7(1), 62-73. google scholar
  • Emwinromwankhoe, O. (2021). Portrayal of women in contemporary Nollywood films: Isoken and King of Boys in focus. Cinej Cinema Journal, 9(1), 117-145. http://doi.org/10.5195/cinej.2021.299 google scholar
  • Emwinromwankhoe, O. & Obaje, C. E. (2022). Multimodal and social semiotic analysis of feminism in select Nigerian advertisements. International Journal of Gender Studies & Research, 7(1), 25-40. google scholar
  • Entman, R. M. (1993). Framing: Towards clarification of a future paradigm. Journal of Communication, 43(4), 5258. google scholar
  • Epkins, H. D. (2011). Media framing of terrorism: Views of ‘front lines’ national security prestige press [Doctoral dissertation, University of Maryland]. google scholar
  • Geena Davis Institute on Gender in Media. (2015). Cinema and society; Shaping our worldview beyond the lens: Investigation on the impact of gender representation in Nigerian films. http://seejane.org/wp-content/ uploads/cinema-and-society google scholar
  • Goffman, E. (1974). Frame analysis: An essay on the organisation of experience. Northeastern University Press. google scholar
  • Harris, R. S. (2017). Warriors, witches, whores. Wayne State University Press. google scholar
  • Ibbi, A. (2017). Stereotype representation of women in Nigerian films. Cinej Cinema Journal, 6(2), 49-70. http:// doi.org/10.5195/cinej.2017.166 google scholar
  • Inwang, M. (Director). (2019). Merry Men 2 [Film]. Corporate World Entertainment, FilmOne Entertainment, Gush Media. google scholar
  • Joseph, M. (2019). Female filmmakers: Towards reconstructing women’s images in Nollywood films [Doctoral dissertation, University of Cape Town]. google scholar
  • Mekwunye, E. S. (Director). (2021). One Lagos Night [Film]. Bukana Motion Pictures, Riverside Productions. google scholar
  • Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-18. google scholar
  • Mulvey, L. (2009). Visual and other pleasures. Palgrave Macmillan. google scholar
  • National Gender Policy. (2006). National gender policy. Federal Government of Nigeria. google scholar
  • NFVCB. (2022). Home movies verified and approved by NFVCB in 2022. http://www.nfvcb.gov.ng/2022/10/19/ home-movies-verified-and-approved-by-nfvcb google scholar
  • The Nigerian Economic Summit Group. (2006). National gender policy. http://www.nesgroup.org. google scholar
  • Obaje, C. E. (2017). News frame patterns: An evaluation of newspaper coverage of Boko Haram attacks in Nigeria. Covenant Journal of Communication, 4(1), 1-25. google scholar
  • Ogunsanya, A., & Fadipe, I. (2022). Gender discourse in Victor Olaiya’s brand of highlife music. International Journal of Gender Studies & Research, 7(1), 51-61. google scholar
  • Ojomo, O., & Adekusibe, G. (2020). Portrayal of women in select Nigerian television contents. EBSU Journal of Mass Communication, 7(1), 1-12. google scholar
  • Oko-Epelle, L. & Adelabu, O. (2022). Portrayal of gender in select Nigerian mainstream newspapers. GVU Journal of Communication Studies, 4(1), 198-209. google scholar
  • Okunna, C. S. (1996). Portrayal of women in Nigerian home videos: Empowerment or subjugation? Africa Media Review, 10(3), 21-36. google scholar
  • Okunna, C. S. (2002). Gender and communication in Nigeria: Is this the 21st century? A paper delivered at the International Association for Media and Communication Research (IAMCR) Biennial Conference, Barcelona, Spain, July 2002. google scholar
  • Omatsola, D. (2016). The semiotics of feminism and Nigeria’s cultural identity in Nollywood: Women’s Cot in focus. Covenant Journal of Communication, 3(1), 1-22. google scholar
  • Omoera, O. S. (2009). Video film and African social reality: A consideration of the Nigeria-Ghana block of West Africa. Journal of Human Ecology, 25(3), 193-199. https://doi.org/10.1080/09709274.2009.11906155 google scholar
  • Omoera, O. S. (2020). We have been quiet for too long: Contesting female disempowerment in Adaze. the quint: An Interdisciplinary Journal of the North, 12(2), 32-63. google scholar
  • Omoera, O. S., & Ebobo, C. U. (2022). Media perception and correctional centre’s portrayal of female offenders in Nigeria. Rivista Sinestesie, XI(36), 1-12. http://sinestesieonline.it/wp-maggio2022-20.pdfcontent/uploads/2022/05/ google scholar
  • Omoera, O. S., Elegbe, O., & Doghudje, R. V. (2019). Gender politics and silences on rape in the Nigerian films Tango with Me and Code of Silence. Media Literacy and Academic Research, 2(2), 128-140. google scholar
  • Omoera, O. S., & Ndu, M.N. (2023). Introspective gender struggle in Body Bag, an autobiographical Nollywood film. In M. Wane Ly, R. Sadouni, F. Keita, & M. Sagna (Eds.), Perspectives sur les autobiographies feminines d'Afrique et de la diaspora (pp. 39-48). L’Harmattan-Senegal. google scholar
  • Omoera, O. S. & Okwuowulu, C. C. (2021). Female representation in select films of Frank Rajah Arase: Evidence of male chauvinist tendencies in the Ghanaian film culture. Cinej Cinema Journal, 9(1), 15-41. https://doi. org/10.5195/cinej.2021.287 google scholar
  • O’Neil, B. S. (2016). Approved for all audiences: A longitudinal content analysis of the portrayal of women in movie trailers [Master’s dissertation, Western Michigan University]. google scholar
  • Parker, M. (2016, April 15). 8 perfect Emma Watson quotes in honor of her 26th birthday. Time Magazine.http:// www.google.com/amp/s/time.com/4295983/emma-watson-wise-quotes/%3famp=true google scholar
  • Rubio, M. D. (2018). A multimodal approach to the analysis of gender stereotypes in contemporary British commercials. Poznan Studies in Contemporary Linguistics, 54(2), 185-221. google scholar
  • Statista. (2023). Films produced by the Nigerian film industry 2017-2021. http://www.statista.com/ statistics/1237190 google scholar
  • Tesunbi, S. K., & Ikwu, J. A. (2012). The cultural implications of the portrayal of females in newspaper advertising: google scholar
  • Lessons from Nigeria. The Global Studies Journal, 4(4), 105-122. https://doi.org/10.18848/1835-4432/CGP/ v04i04/40812 google scholar
  • Ukata, A. (2010). Conflicting framings of women in Nollywood videos. Journal of African Nebula, 1, 65-75. google scholar

Seçili Nollywood Anlatılarında Toplumsal Cinsiyet Meselelerinin Çerçevelenmesi

Yıl 2024, , 1 - 22, 08.07.2024
https://doi.org/10.26650/Filmvisio.2024.0001

Öz

Medya araştırmacıları ve feminist akademisyenlerin sinema anlatılarında erkek ve kadın cinsiyetinin tasvirindeki büyük eşitsizliği karakterize eden tartışmaları ve eleştirilerinin yankıları, her iki cinsiyetin temsillerini yeniden inceleme ihtiyacını doğurmuştur. Bu çalışma, içerik analizi, örnekleme, tarihsel eleştiri ve uzmanlar ile görüşme karma araştırma yöntemlerini kullanarak, seçilen Nollywood anlatılarında toplumsal cinsiyet meselelerinin çerçevelenmesini araştırmaktadır. Çerçeveleme teorisine dayanan bu çalışma, 2019, 2021 ve 2022 yıllarında üretilen 3.334 filmi içeren bir popülasyondan oluşmakta olup, bunların arasından üç geniş çapta beğenilen film - Merry Men 2 (Moses Inwang, 2019), One Lagos Night (Ekene Som Mekwunye, 2021) ve Anikulapo (Kunle Afolayan, 2022) - amaçlı olarak örneklenmiş ve içerik analizi yapılmıştır. Bu analizde, film yapımcılarının erkek ve kadın karakterleri izleyiciye nasıl sunduğunu anlamak amacıyla beş zıt ve çelişkili çerçeve merkezde yer almıştır: Maço erkekler ve zayıf kadınlar, ahlaklılık nesneleri ve baştan çıkarma ve cinsel sömürü nesneleri, alfa erkek bakışı ve kadın nesnesi, çalışkan kocalar ve tembel tam zamanlı ev hanımları ile hayırsever erkekler ve kötücül kadınlar. Filmler büyük ölçüde film yapımcılarının sosyo-kültürel ortamlarındaki eğilimleri yansıttığından, suçun büyük bir kısmının film yapımcılarına yüklenmediği sonucuna varılmıştır. Bununla birlikte, film yapımcılarının her toplumda yanlış düşünceleri ve ideolojileri düzeltme konusunda büyük bir güce sahip oldukları göz önüne alındığında, Nijeryalı film yapımcıları veya Nollywood içerik yaratıcılarının (NCC’ler) film anlatılarında kadınların çerçevelenmesini yeniden düşünmeleri gerektiği vurgulanmıştır.

Kaynakça

  • Adinlewa, T., & Ojih, S. (2018). Analysis of gender roles in select Nigerian television commercials. Novena Journal of Communication, 5, 141-157. google scholar
  • Adelakun, A. (2010, May 28). Nollywomen and the search for better representation. Modern Ghana. https://www. modernghana.com/nollywood/7536/nollywomen-and-the-search-for-better-representation.html google scholar
  • Afolayan, K. (Director). (2022). Anikulapo [Film]. KAP Motion Pictures. google scholar
  • Amonyeze, C., Nwafor, C., & Agbo, O. (2023). The ornamentalization of masculinity in selected Nollywood films. Cogent Arts & Humanities, 10(1), 1-14. google scholar
  • Asemah, E., Nwammuo, A., & Nkwam-Uwaoma, A. (2017). Theories and models of communication. Jos University Press. google scholar
  • Ayo-Aderele, A. (2016, October 14). My wife belongs to my kitchen, the other room -Buhari. Punch. https:// punchng.com/wife-belongs-kitchen-buhari/ google scholar
  • Babatope, B. (2016). Gender and sexual politics in Tunde Kelani’s Narrow Path. In O. Okome & M. Okhakhu (Eds.), Media studies in Nigeria: Genesis and detours (pp. 169-186). Stirling-Hordens Publishers Limited. google scholar
  • Blackstone, A. M. (2003). Gender roles and society. In J. R. Miller, R. M. Lerner, & L. B. Schiamberg (Eds.), Human ecology: An encyclopedia of children, families, communities, and environments (pp. 335-338). ABC-CLIO Publishers. google scholar
  • Browne, E. (2019). Gender norms, LGBTI issues and development: A topic guide. https://www.alignplatform.org/ sites/default/files/2021-08/gender_norms_and_lgbtqi_issues.pdf google scholar
  • Chimbuto, J. (2016). The representation of women in Nollywood films: An investigation of its impact on audiences in Malawi [Doctoral dissertation, University of Roehampton]. https://pure.roehampton.ac.uk/ws/portalfiles/ portal/399877/Joseph_Chimbuto_Thesis.pdf google scholar
  • Cilliers, C. P. (2014). A semiotic multimodal analysis and South African case study: The representation and construction of masculinities in Men’s Health (SA) [Doctoral dissertation, University of South Africa]. https:// uir.unisa.ac.za/handle/10500/18197 google scholar
  • Cortez, C. Duchicela, L., Lord, J., & Mcclain-Nhlapo, C. (2019). Equity and inclusion in education in World Bank projects: Persons with disabilities, indigenous peoples, and sexual and gender minorities. https:// documents1.worldbank.org/curated/en/590781562905434693/pdf/Equity-and-Inclusion-in-Education-in-World-Bank-Projects-Persons-with-Disabilities-Indigenous-Peoples-and-Sexual-and-Gender-Minorities.pdf google scholar
  • Dutt, R. (2014). Behind the curtain: Women’s representations in contemporary Hollywood. London School of Economics and Political Science. google scholar
  • Elegbe, O. (2022). Women: The ‘burden bearers’ in Tunde Kelani’s: Arugba (2008). International Journal of Gender Studies & Research, 7(1), 62-73. google scholar
  • Emwinromwankhoe, O. (2021). Portrayal of women in contemporary Nollywood films: Isoken and King of Boys in focus. Cinej Cinema Journal, 9(1), 117-145. http://doi.org/10.5195/cinej.2021.299 google scholar
  • Emwinromwankhoe, O. & Obaje, C. E. (2022). Multimodal and social semiotic analysis of feminism in select Nigerian advertisements. International Journal of Gender Studies & Research, 7(1), 25-40. google scholar
  • Entman, R. M. (1993). Framing: Towards clarification of a future paradigm. Journal of Communication, 43(4), 5258. google scholar
  • Epkins, H. D. (2011). Media framing of terrorism: Views of ‘front lines’ national security prestige press [Doctoral dissertation, University of Maryland]. google scholar
  • Geena Davis Institute on Gender in Media. (2015). Cinema and society; Shaping our worldview beyond the lens: Investigation on the impact of gender representation in Nigerian films. http://seejane.org/wp-content/ uploads/cinema-and-society google scholar
  • Goffman, E. (1974). Frame analysis: An essay on the organisation of experience. Northeastern University Press. google scholar
  • Harris, R. S. (2017). Warriors, witches, whores. Wayne State University Press. google scholar
  • Ibbi, A. (2017). Stereotype representation of women in Nigerian films. Cinej Cinema Journal, 6(2), 49-70. http:// doi.org/10.5195/cinej.2017.166 google scholar
  • Inwang, M. (Director). (2019). Merry Men 2 [Film]. Corporate World Entertainment, FilmOne Entertainment, Gush Media. google scholar
  • Joseph, M. (2019). Female filmmakers: Towards reconstructing women’s images in Nollywood films [Doctoral dissertation, University of Cape Town]. google scholar
  • Mekwunye, E. S. (Director). (2021). One Lagos Night [Film]. Bukana Motion Pictures, Riverside Productions. google scholar
  • Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-18. google scholar
  • Mulvey, L. (2009). Visual and other pleasures. Palgrave Macmillan. google scholar
  • National Gender Policy. (2006). National gender policy. Federal Government of Nigeria. google scholar
  • NFVCB. (2022). Home movies verified and approved by NFVCB in 2022. http://www.nfvcb.gov.ng/2022/10/19/ home-movies-verified-and-approved-by-nfvcb google scholar
  • The Nigerian Economic Summit Group. (2006). National gender policy. http://www.nesgroup.org. google scholar
  • Obaje, C. E. (2017). News frame patterns: An evaluation of newspaper coverage of Boko Haram attacks in Nigeria. Covenant Journal of Communication, 4(1), 1-25. google scholar
  • Ogunsanya, A., & Fadipe, I. (2022). Gender discourse in Victor Olaiya’s brand of highlife music. International Journal of Gender Studies & Research, 7(1), 51-61. google scholar
  • Ojomo, O., & Adekusibe, G. (2020). Portrayal of women in select Nigerian television contents. EBSU Journal of Mass Communication, 7(1), 1-12. google scholar
  • Oko-Epelle, L. & Adelabu, O. (2022). Portrayal of gender in select Nigerian mainstream newspapers. GVU Journal of Communication Studies, 4(1), 198-209. google scholar
  • Okunna, C. S. (1996). Portrayal of women in Nigerian home videos: Empowerment or subjugation? Africa Media Review, 10(3), 21-36. google scholar
  • Okunna, C. S. (2002). Gender and communication in Nigeria: Is this the 21st century? A paper delivered at the International Association for Media and Communication Research (IAMCR) Biennial Conference, Barcelona, Spain, July 2002. google scholar
  • Omatsola, D. (2016). The semiotics of feminism and Nigeria’s cultural identity in Nollywood: Women’s Cot in focus. Covenant Journal of Communication, 3(1), 1-22. google scholar
  • Omoera, O. S. (2009). Video film and African social reality: A consideration of the Nigeria-Ghana block of West Africa. Journal of Human Ecology, 25(3), 193-199. https://doi.org/10.1080/09709274.2009.11906155 google scholar
  • Omoera, O. S. (2020). We have been quiet for too long: Contesting female disempowerment in Adaze. the quint: An Interdisciplinary Journal of the North, 12(2), 32-63. google scholar
  • Omoera, O. S., & Ebobo, C. U. (2022). Media perception and correctional centre’s portrayal of female offenders in Nigeria. Rivista Sinestesie, XI(36), 1-12. http://sinestesieonline.it/wp-maggio2022-20.pdfcontent/uploads/2022/05/ google scholar
  • Omoera, O. S., Elegbe, O., & Doghudje, R. V. (2019). Gender politics and silences on rape in the Nigerian films Tango with Me and Code of Silence. Media Literacy and Academic Research, 2(2), 128-140. google scholar
  • Omoera, O. S., & Ndu, M.N. (2023). Introspective gender struggle in Body Bag, an autobiographical Nollywood film. In M. Wane Ly, R. Sadouni, F. Keita, & M. Sagna (Eds.), Perspectives sur les autobiographies feminines d'Afrique et de la diaspora (pp. 39-48). L’Harmattan-Senegal. google scholar
  • Omoera, O. S. & Okwuowulu, C. C. (2021). Female representation in select films of Frank Rajah Arase: Evidence of male chauvinist tendencies in the Ghanaian film culture. Cinej Cinema Journal, 9(1), 15-41. https://doi. org/10.5195/cinej.2021.287 google scholar
  • O’Neil, B. S. (2016). Approved for all audiences: A longitudinal content analysis of the portrayal of women in movie trailers [Master’s dissertation, Western Michigan University]. google scholar
  • Parker, M. (2016, April 15). 8 perfect Emma Watson quotes in honor of her 26th birthday. Time Magazine.http:// www.google.com/amp/s/time.com/4295983/emma-watson-wise-quotes/%3famp=true google scholar
  • Rubio, M. D. (2018). A multimodal approach to the analysis of gender stereotypes in contemporary British commercials. Poznan Studies in Contemporary Linguistics, 54(2), 185-221. google scholar
  • Statista. (2023). Films produced by the Nigerian film industry 2017-2021. http://www.statista.com/ statistics/1237190 google scholar
  • Tesunbi, S. K., & Ikwu, J. A. (2012). The cultural implications of the portrayal of females in newspaper advertising: google scholar
  • Lessons from Nigeria. The Global Studies Journal, 4(4), 105-122. https://doi.org/10.18848/1835-4432/CGP/ v04i04/40812 google scholar
  • Ukata, A. (2010). Conflicting framings of women in Nollywood videos. Journal of African Nebula, 1, 65-75. google scholar
Toplam 50 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İletişim ve Medya Çalışmaları (Diğer)
Bölüm Araştırma Makaleleri
Yazarlar

Osakue S. Omoera 0000-0003-1086-7874

Osakpolor Emwinromwankhoe 0000-0002-9935-0478

Yayımlanma Tarihi 8 Temmuz 2024
Gönderilme Tarihi 25 Mart 2024
Kabul Tarihi 28 Mayıs 2024
Yayımlandığı Sayı Yıl 2024

Kaynak Göster

APA Omoera, O. S., & Emwinromwankhoe, O. (2024). Framing Gender Issues in Selected Nollywood Narratives. Filmvisio(3), 1-22. https://doi.org/10.26650/Filmvisio.2024.0001