– National Cinema and Domestic Violence in Nigeria: a Psychoanalytic Study of Selected Nigerian Video Films –
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TABLE OF CONTENTS
Title page ——i
Certification ——– ii
Approval page —– iii
Dedication ———- iv
Acknowledgement———– v
CHAPTER ONE: INTRODUCTION
1.0 Preamble———– 1
1.1 Statement of Problem ———- 3
1.2 Research questions——— 4
1.3 Objective of the Study—- 4
1.4 Significance of the study——- 5
1.5 Scope of the study ———- 5
1.6 Research methodology—- 6
1.7 Definition of Terms——— 7
1.8 Theoretical framework —– 9
CHAPTER TWO: REVIEW OF RELATED SCHOLARSHIP
2.1 Preamble —- 17
2.2 The Concept of National Cinema —- 20
2.3 Contemporary African Cinema—- 24
2.4 Domestic violence ———– 29
2.5 Some cases of Domestic Violence in Nigeria —— 37
2.6 Psychoanalysis ———– 42
CHAPTER THREE: EVALUATION OF THE SELECTED MOVIES
3.1 Preamble ———– 48
3.2 Synopsis of Ije —- 48
3.3 Thematic analysis of Ije ————– 49
3.4 Synopsis of Damage ————– 57
3.5 Thematic analysis of Damage ————— 59
3.6 Characterizations in the selected movies —————————————— 63
CHAPTER FOUR: NATIONAL CINEMA AND DOMESTIC VIOLENCE IN NIGERIA
4.1 Preamble————- 68
4.2 An assessment on Ije———– 68
4.3 An assessment on Damage —————— 71
4.4 A comparative study on the selected movies ————— 80
CHAPTER FIVE: SUMMARY, CONCLUSION, AND SUGGESTION
5.1 Summary————————– 88
5.2 Conclusion ———————— 89
5.3 Suggestions ———————- 90
REFERENCES
INTRODUCTION
Research has shown that the rise of African cinema took effect from the early twentieth century, a period of the decolonization of sub-Saharan Africa, though what became African cinema during colonial rule did not reflect the core of African cultures and values.
Instead, African cinema at that time was characterised by Western stereotypes and Africa was utilized merely as an “exotic” background for Western cinema. However, the development of African cinema underwent a significant change in twentieth century, when many African countries obtained their independence.
This phase of development in African cinema is especially true of the former French colonies, whose local filmmakers received technical and financial support from the French Ministry of Co-operation. It has been observed that most of the films, prior to independence were egregiously racist in nature Borom Sarret (1963), Niaye (1964).
Prominent African filmmakers of the independence era – such as Ousmane Sembène and Oumarou Ganda, amongst others – saw film as an important political tool for rectifying the erroneous image of Africa. Sembène, a Senegalese writer, had turn to cinema probably to reach a wider audience.
He has been described by Dennis Mclellan (2007), a Times Staff writer as the “father” of African Film because of his leading role in the development of African cinema. Also his first production, La Noire de…, in 1966 which is based on one of his short stories; was the first feature film ever released by a sub-Saharan African director.
REFERENCES
Abrams, M. H. A Glossary of Literary Terms. (8th Edition). Boston: Thomson Wadsworth, 2005.
Aihie, O. N. “Prevalence of Domestic Violence In Nigeria: Implications For Counselling” Edo Journal of Counselling. 2.1 (2009): 1-8.
Akpan, S. Church. Film: Philosophy and Practice. Nsukka: Rex Books, 2009.
Asobele, Timothy. Yoruba Cinema of Nigeria. Lagos: Upper Standard Pub., 2003.
Birringer, Johannes. Media and Performance: Along the Border. London: The Johns Hopkins University Press, 1998.
Bobker, Lee. Elements of Film. New York: Harcourt, Brace & World Inc., 1969.
StudentsandScholarship Team.
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