The Hausa video film: the call of the muezzin

Ekwuazi, Hyginus

doi:10.1386/fiin.5.4.64

Cited by 8 publications

(8 citation statements)

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“…6.During Nigeria’s oil boom, when cinema halls enjoyed a peak attendance due to boosted domestic consumption and strengthened purchasing power, Lagos alone hosted twenty-eight licensed cinemas and a rumored forty “pirate” cinemas (Ekwuazi 1987). The American Motion Picture Exportation Corporation of Africa (AMPECA) supplied these cinemas with Hollywood B-films from MGM, Columbia, United Artists, and 20th Century Fox.…”

Section: Notesmentioning

confidence: 99%

“…7.The “pirate cinemas” that Ekwuazi (1987) describes have been substituted by video parlors and football viewing centers that have Nollywood movie channels in their satellite television subscription. Though sports viewing centers must be licensed in Lagos and are prohibited from televising anything but sports, most neighborhoods in the city have several viewing centers that screen with impunity whatever content appeals to patrons.…”

Section: Notesmentioning

confidence: 99%

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New Nollywood: A Sketch of Nollywood’s Metropolitan New Style

Ryan¹

2015

Afr. stud. rev.

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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’ senses by promising not only a movie and shopping, but also an affective experience closely bound up with global consumerism. The films exhibit a metropolitan vantage point that emphasizes subjects such as airline travel, trendy technology, consumer culture, global pop culture, lifestyle brands, high fashion, and luxury goods. These films advertise their “modernity,” which is not presented as a consolidated order of knowledge and values, but rather as an assemblage of signifiers of city life. Whereas mainstream Nollywood continues to produce strong narratives that resonate with its intended audience, New Nollywood—with its emphasis on images and style—is a direct expression of the cultural and economic forces shaping life in Lagos today.

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Section: Notesmentioning

confidence: 99%

Section: Notesmentioning

confidence: 99%

New Nollywood: A Sketch of Nollywood’s Metropolitan New Style

Ryan¹

2015

Afr. stud. rev.

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“…The post-independence period marked the emergence of private production companies and the appearance of a rash of historical and cultural documentaries like: Hausa Marriage; Hawan Sallah; Kano Heritage; The Sallah Dubar; A Ballad of Katsina;etc. (see Muhammed 1992;Ekwuazi 2007). The company has, also to its credit, produced more films such as Ruwan Bagaja (1986) and Kulba Na Barna (1992), among others.…”

Section: Film In Northern Nigeria and The Impact Of Globalizationmentioning

confidence: 99%

“…The orthodox Islam teaches its followers through the noble Qur'an, the prophetic tradition (Hadith) and the numerous fatwas (decree) that nothing is needed outside its compass. Femi Osofisan (1999: 12) has noted particularly with regard to performing arts that the Muslim north were conservative and 'had resisted western education and missionary influence …' Yet, the people could not be deterred from watching films, whose appetite for which, according to Muhammed (1992: 185) (Ekwuazi 2007), 'is insatiable as well as inexplicable'. Both their teeming youth and the elderly used to watch Indian films frequently whose transnational circulation many years ago made it very popular in the Hausa community.…”

Section: Introductionmentioning

confidence: 99%

Hausa film: Compatible or incompatible with Islam?

Ibrahim

2013

Performing Islam

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hausa film: Compatible or incompatible with islam? abstraCtGlobalization, now at its peak, is tied with media like a computer to its screen. Film is a vital media technology endowed with ample efficacy through which much propaganda -for good or bad -is sold out to the people. This is so because almost everybody can understand the language of film and its appeal; it is conferred with the communicative power that often mobilizes people to react peacefully or otherwise. Such as it is, film-makers in Kano as well as other didactic, Shari'ah-abiding and substantially Muslim northern states of Nigeria are in constant ideological clash with the larger society, the government and the religious institutions. The film-makers are accused of misrepresenting and attacking the sociocultural and the religious value systems. The major ethnic group in the state and the region is Hausa, the people who are strict followers of Islam, the religion, which, in a greater proportion, conforms with their Arab-influenced culture; thus, both the culture and Islam frown at the films, especially such as those being produced, for many contain Indian masala popular cinema and quasi-Euro-American and non-Islamic ideas, practices and experiences, and do not correspond to the culture and the religion of the people. Therefore, this article, among other things, seeks to look inwards in search of what led to the current state of affairs. The writer offers advice on how to better things.

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“…Film, also referred to as movie, motion picture, theatrical film or photo-play, is unarguably a medium of mass communication. As a popular and veritable mass medium, it performs the tripartite role of information, education and entertainment (Ekwuazi, 2007;Kurki & Dahiru, 2020).…”

Section: Introductionmentioning

confidence: 99%

Portrayal of Women in Contemporary Nollywood Films: Isoken and King of Boys in Focus

Osakpolor

2021

cinej

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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 these portrayals are, at best, parallel to the stereotypical ways in which women were portrayed in previous Nollywood movies. Taking cognizance of the fact that both films are directed by women, the researcher recommends that Nollywood female directors should look beyond the lenses of financial gains and set a pace with regards to changing the narrative and portraying Nigerian women in a positive light.

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The Hausa video film: the call of the muezzin

Cited by 8 publications

References 0 publications

New Nollywood: A Sketch of Nollywood’s Metropolitan New Style

New Nollywood: A Sketch of Nollywood’s Metropolitan New Style

Hausa film: Compatible or incompatible with Islam?

Portrayal of Women in Contemporary Nollywood Films: Isoken and King of Boys in Focus

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