Framing Gender Issues in Selected Nollywood Narratives
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 modali...
Saved in:
| Main Authors: | , |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Istanbul University Press
2024-07-01
|
| Series: | Filmvisio |
| Subjects: | |
| Online Access: | https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2561D7DFA7254EABA9E03D7D4BF3BD71 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | 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. |
|---|---|
| ISSN: | 2980-3101 |