Vol. XXXI, Issue 4: Fall 2024 Gender, Nollywood & Africa

Table of Content

Editorial: 

Dr Doris Ngozi Morah, PhD
Associate Professor,
Department of Mass Communication,
Faculty of Communication and Media Studies,
Madonna University Nigeria.

Oluchukwu Augustina Nwafor and Doris Ngozi Morah:
Rethinking Gender Stereotypes in a Nigerian Movie: A Thematic Analysis of “ A Tribe Called Judah.”

Adanma Vivian Obiora and Anthony Ogbonna Uche:
Nollywood’s framing of Violence against Women and Girls in Oloture and The Wildflower Films.

Timothy Ekeledirichukwu Onyejelem and  Uche Oboko:
Portrayal of the Girl Child in Nollywood Films: Socio-Cultural and Semiotic Perspectives on Leadership 

Doris Ngozi Morah and George Nathan:
Gender Representation in Nigerian Cinema: Analysis of Female Actresses in Nollywood Films Lionheart, Muna  and King of Boys

EDITORIAL

This issue starts with Oluchukwu Augustina Nwafor and Ngozi Morah’s Rethinking Gender Stereotypes in Nigerian Movie: A Thematic Analysis of “A Tribe Called Judah. ” The article offers a thematic analysis of A Tribe Called Judah , highlighting how the movie’s portrayal of women challenges traditional gender norms, and promotes empowerment narratives. By focusing on character depth and rich storylines, this study emphasizes the importance of nuanced representations that can inspire change not only within Nigeria but across the African continent.

Adanma Vivian Obiora and Anthony Ogbonna Uche’s “ Nollywood’s Framing of Violence against Women and Girls in Oloture and The Wildflower” investigates the portrayal of violence against women and girls in Nollywood films. By employing framing theory, this work reveals how these films often perpetuate toxic gender relations while suggesting a need for filmmakers to depict solutions alongside the problems. This critical discourse is essential for fostering societal development and promoting gender equality.

Timothy Ekeledirichukwu Onyejelem and  Uche Oboko’s  article Portrayal of Girls in Nollywood Films: Socio-Cultural and Semiotic Perspectives  assesses the shifts in representation of women in Nollywood films. This exploration of the socio-cultural dynamics surrounding the representation of the girl child in Nollywood films, provides a historical perspective on how these portrayals have evolved. By analyzing films from different eras, this work underscores the impact of contemporary narratives on societal perceptions and aspirations for gender equality, advocating for transformative leadership among future generations.

Doris Ngozi Morah and George Nathan’s work on Gender   Representation in Nigerian Cinema: Analysis of Female Actresses in Lionheart, Muna and King of Boys Nollywood Films analyses female characters in Lionheart , Muna , and King of Boys and reveals the persistent reinforcement of patriarchal norms in Nollywood. This study highlights the implications of such portrayals on women's self-perception and societal roles, calling for filmmakers to challenge stereotypes and promote more empowering narratives.

Indeed, this Issue offers a collection of insightful articles that delve into the critical examination of gender representation in Nigerian cinema, particularly within the vibrant landscape of Nollywood. The contributions reflect a growing recognition of film's power in shaping societal norms and attitudes, especially regarding gender roles and issues in Nollywood and Africa. The articles contribute to an essential dialogue about gender representation in Nollywood and Africa, bringing the African reality to the world and urging filmmakers and industry stakeholders to embrace more inclusive and diverse narratives. The exploration’s recommendations evoke a ray of hope to ending gender discrimination and violence against women in Africa. We extend gratitude to all authors for their significant contributions and to our editorial team for their unwavering support in achieving this issue. We thank Africa Update  for the opportunity to assemble research about Nollywood and gender representation from the African perspective. We hope that this collection will inspire further research and discussions that continue to challenge and reshape gender stereotypes in Nollywood films.

GUEST EDITOR, 

AFRICA UPDATE

Dr Doris Ngozi Morah, PhD

Associate Professor,
Department of Mass Communication,
Faculty of Communication and Media Studies,
Madonna University Nigeria.

CHIEF EDITOR

Professor Gloria Emeagwali,
CCSU.

Rethinking Gender Stereotypes in Nigerian Movies:
A Thematic Analysis of “ A Tribe Called Judah” 

Oluchukwu Augustina Nwafor Ph.D-
Department of Mass Communication, Madonna University Nigeria, Okija, Nigeria
https://orcid.org/0009-0003-6017-1805 
Email: oluchiaugustina@yahoo.com 

Doris Ngozi Morah, Ph. D- 
Department of Mass Communication,
Madonna University Nigeria, Okija, Nigeria
https://orcid.org/0000-0002-7854-3238 
Email: morahng@yahoo.com

INTRODUCTION

Scholars agree that film can teach, indoctrinate, and form ideas, behaviour, and representation of religion, cultures, and ideologies (Perkins, 2000; Ibrahim, 2013; Uzuegbunam & Ononiwu, 2018). As a “powerful medium that conveys culture, values and beliefs of contemporary societies”, according to Cloete (2017, p. 2), film has become a subject of intense scrutiny for its roles in reinforcing and perpetuating gender-based stereotypes. Women have been represented in films in negative ways that undermine their roles in society and constantly place them at the mercy of their male counterparts. According to Dutt (2014, p. 3), since the women’s liberation movement in the 1960s, their social, cultural, political and economic roles have drastically changed and progressed for the better, seemingly giving women an equal footing to men in most aspects of life. However, male dominance in the film industry, like in many other industries worldwide, is still evident in the 21st century. Amobi (2013) brings this scenario to Nigeria by stating that despite four world conferences on women, Nigerian women continue to experience marginalisation in every sphere of human endeavour. The media are usually blamed for women’s low visibility and unwillingness to participate in social activities (Omojola & Morah, 2014). Similarly, the authors believe that women’s low profile in politics is mainly caused by perceptions of unappreciable media access among women(p.2), colonial legacy interference, lack of financial empowerment, unemployment, and the patriarchal nature of society (p.22).

Several studies have concentrated on the stereotypical portrayal of women, especially in the Nollywood industry (Duru, 2008; Abiola, 2013; Prinsloo, 2011; Aromona, 2016). In a study conducted by Aromona (2016), the findings were that the conventional representations of women over the past five years have remained the same, and there have been no positive changes. While the Nollywood portrayal of men seems to have positively evolved, keeping pace with social trends, the portrayal of women has remained the same, a situation described as "stuck in the past". Regretfully, this uncompromising depiction of women, as shown in Nigerian films, influences the progress and accomplishment of women in the past and contributes to the recurring pressure encountered by women almost daily because of sexism and gender biases from the patriarchal environment. Supporting the above statements, Adewoye et al . (2014) maintained that Nigerian cinema often represents women as wayward, materialistic, lazy, subservient, materialistic, of low standard, dependent on men, and considered fit for only domestic chores, especially in the bedroom (the other room) as well as the kitchen, rather than professional careers. Unarguably, the mass media are accused by many as being used to perpetrate this gender bias/ stereotypes against women. This has triggered lots of concerns from many, especially women from all walks of life, given their potential and power of shaping, influencing, and determining how women in Nigeria are perceived globally, and how the society behaves towards them (Doghudje, 2019). Okunna and Morah (2023) argue that stereotypes could be scrapped by gender inclusiveness. They believe that in “an inclusive society, there is fairness and equity in how men and women are treated” (Okunna & Morah, 2023, p.112). Their mindset implies that strategic communication can solve stereotypes, even in the film industry.

STATEMENT OF RESEARCH PROBLEM

The representation of gender in Nigerian movies often perpetuates traditional stereotypes, which can significantly influence societal attitudes and expectations. These stereotypes tend to depict women and men in limited and often rigid roles, such as women being portrayed primarily as caregivers, subservient to men, or as objects of desire. In contrast, men are frequently shown as dominant, authoritative figures. Such portrayals reinforce harmful norms and limit the perceived potential and roles of individuals based on their gender. In today’s era of digitisation and increasing global interconnectedness, there is a critical need to challenge and rethink these entrenched stereotypes, especially within the African context. This involves not only identifying and analysing the prevalence and impact of gender stereotypes in movies such as “ The Tribe Called Judah ” but also exploring strategies for promoting more diverse and equitable representations. Addressing this issue is crucial for fostering a more inclusive society where all individuals, regardless of gender, can envision and pursue various roles and opportunities. Having this in mind, therefore, forms the basis for this study.

OBJECTIVES / RESEARCH QUESTIONS.

This study examined the portrayal of gender roles and representation, empowerment narratives, character depth, and in-depth storylines that address gender issues such as sexism, gender discrimination and gender-based violence. Based on the above, these research questions are raised:

1. Drawing from the 'stereotype content model', we can see the prevalent gender stereotypes portrayed in the movie " A Tribe Called Judah .”
2. What are the underlying power dynamics, cultural biases and societal norms perpetuated through cinematic storytelling in the movie?

SYNOPSIS OF “ THE TRIBE CALLED JUDAH ”

A Tribe Called Judah ” is a 2023 comedy-crime film directed by Adeoluwa Owu and Funke Akindele-Bello. It takes its viewers on a captivating journey through the intricate dynamics of a Nigerian family. Set in a low-to-middle-income family, the film portrays the familiar dynamics of good, bad, ugly, and worst experiences inherent in every family. This film skillfully blends drama , comedy , and a touch of suspense . The movie opens with Jedidah Judah, a single mother of five boys, waking up in the morning. After observing her morning prayer, she anoints the pictures of her sons, seeking God’s protection over them. The subsequent scene reveals who Jedidah is-   aside from being a prayerful mother, she is also a robust and no-nonsense pillar of support in her community. 

For this study, the lead character is a figure whose role is central to the film and who the film revolves around. A supporting character is operationalised to mean a character whose role is central to the overall plot but below that of the lead actor. As such, the lead and supporting characters identified will be evaluated based on predetermined demographics and character variables. Additionally, the stereotype content model will be employed to analyse factors such as setting, education, ambition, status and physical appearance to determine how The Tribe Called Judah balances gender stereotypes.

Table 1. Subjects of Analysis

DEMOGRAPHIC VARIABLES:

The selected characters' ages are divided into three (3) age groups: 20 – 39 represents young adults, 40 – 59 is coded as middle-aged, and 60 and above is coded as older adults. Furthermore, the characters' sexes are coded as male and female based on physical sex markers. 

CODING CATEGORIES:

Competence and warmth: According to the SCM, individuals and groups are stereotyped based on perceived competence and warmth (Fiske et al., 2002). Consequently, characters that display affection, care, gentleness, and empathy are categorised in the high warmth description and coded as warm. In contrast, characters that display unaffectionate, selfish, and indifferent traits are rated in low warmth and coded as cold. See Table 3 below for further explanations:

Table 2: Code Book 

DATA ANALYSIS:

The Tribe Called Judah is a Nollywood film that follows the struggle of an ambitious woman as she strives to survive sexual abuse from different men that resulted in the birth of her five (5) children. The result obtained from the visual analysis of the film is contained in the tables 4 and 5 below.

Table 3. Analysis of Lead Characters 

Stereotype Descriptions

Table 4. Analysis of Supporting Characters

Stereotype Descriptions 

DISCUSSION OF FINDINGS

The supporting female characters were depicted in the traditional roles typically of women stereotyped in African movies. Linda is a stay-at-home mother, unproductive, uneducated, with little interest in business, while Collete is portrayed as a career woman, unemotional, educated, well-dressed and unmarried. On the other hand, the supporting male character Chigozie (Emeka’s boss) is seen to be unaffectionate, efficient, intelligent and wealthy. His character is enviable and seen as an ideal male stereotype in Nollywood films. Emeka Judah (the first son of Jedidah) is seen as resilient in pursuing his dreams; he is efficient and productive and is described as meeting the standard for male stereotypes in African movies. 

The study sought to investigate how Nollywood balances gender stereotypes in films, using The Tribe Called Judah , a film directed by Funke Akindele. From the data analysis, little has changed in Nollywood’s stereotypical portrayal of both genders. The lead character, Jedidah, is portrayed as beating the traditional stereotype of single mothers by being robust, hardworking, and supportive of her family and neighbours. It is seen in the scene where she gives a boy riding one of her Keke (tricycle) the key to go to work for the day. Also, Jedidah stands in for Linda when her husband beats her for collecting money to start a tomato business. This scene aligns with the assumption of the stereotype content model that a competent woman will typically be envied and resented in society (Fiske et al., 2002).

However, some recurring female stereotypes persisted in the movie. For example, Jediahah is shown to be an object of sexual abuse, unkempt and uneducated. Collete, who is seen as a female supporting character, is seen to be unemotional, career-oriented, educated, not seen as an object of sexual abuse and well-dressed. She strives to succeed in a male-dominated field. Thus, her personality challenges the dominant gender norms. She was shown to be unmarried and not in a relationship, which plays into the widespread perception that a career-oriented woman cannot have or manage a romantic relationship. However, she ended up stealing her boss's money and was caught and tortured immensely. However, the Judah brothers, who embarked on the same journey with her, escaped. This shows that she needed men to figure out her life and escape problems. It confirms the perception that women are dependent on and meant to be protected by men (Wood, 1994).

The portrayal of other females in the film (Linda, Mama Caro and Grandma) follows the traditional narrative that is uneducated, poor, unambitious and unkempt. It is depicted in the traditional interpretation of women's roles in society. Moreover, this corroborates with the findings of Aromona (2016, p. 43) that "a woman's worth, as seen in the Nollywood movies, is based on her ability to be a perfect homemaker with roles including but not limited to meeting the husband’s sexual desires, cooking for the man, and tending the children.” A scene where Linda is beaten, and her goods are destroyed shows by her husband shows aggression and demonstrates societal backlash against women who seek economic independence. 

For the male characters, it is business as usual. The male characters in the film largely retained their traditional roles of being competent, ambitious and career-oriented. From the lead male character to the supporting male characters, for example, Papa Micheal reacts aggressively and violently to his wife when she receives financial assistance from Jedidah . This shows the subjugation and dominance of men over their wives. Conversely, the Judah brothers showed resilience and unity despite their differences in birth and little or no education. The five sons represent different facets of masculinity. Their diverse backgrounds and personalities contribute to a complex and exciting portrayal of manhood. It is evident in a scene where Ejiro,   Jedidah's youngest son, witnesses his mother being slapped by Papa Micheal. His immediate reaction is to call his brothers—the "tribe called Judah"—to address the situation. Thus, it highlights the protective instincts associated with masculinity. T hey tried their best in their little way to support their mother. Although The Tribe Called Judah succeeded in elevating women and reflecting on their ambition, power, and capability, all of these occurred without upsetting male dominance and privileges. Men were effectively in control. It is evident when Jedidah’s sons took good care of her when she was sick. However, the portrayal of their fathers depicts a range of flaws, including pride, unproductive, insecurity and unemotional. It exhibits irresponsible fathers who do not ask after their children. 

Nevertheless, the theoretical conception of Womanism aligns with the findings of this study. It cherishes, consolidates and incorporates black women's culture and the community of women while antagonising a nonconformist rebellious gendered (feminist) dogma that may station or install black women against black men. Generally, womanism theory does not believe in a feminism that places its attention on gender discrimination, but Womanism fights prejudice against women in areas of race, class and gender. In all, womanists work to ensure the well-being of all humanity, that is, male and female. This is evident in a scene where Jedidah speaks on behalf of Linda, telling her husband to allow her to experience economic stability. In another scene, we see Mama Caro advising Jedidah to take things easy, and later, we see Mama Caro helping Jedidah to stop those who want to kill her son because he stole people’s items. In all, we see women supporting women in a positive, industrious way.

CONCLUSION

Rethinking Gender Stereotypes in Nigerian Movie: A Thematic Analysis of “ A Tribe Called Judah ",  directed by Funke Akindele, attempts to explore another angle about female stereotypes in films. The interpretation of the character Jedidah Judah as having the determination to establish her business challenges the stereotype that single mothers should remain confined to domestic roles. Despite societal pressures, Judah stands strong, emphasising self-reliance and resilience.  The film actively tries to ‘demystify’ the power of men. However, the male characters in the film largely retained their traditional roles of being competent, ambitious and career-oriented. Future films should explore male weaknesses and incompetence to further balance the existing stereotypes around men. The Tribe Called Judah provides a solid background on which productive dialogue about gender stereotypes in Nollywood can be anchored. In summary, “ The Tribe Called Judah ” weaves a rich tapestry of characters, showcasing their flaws, strengths, and shared humanity. Their collective journey resonates with audiences, making this film a memorable addition to Nigerian cinema. 

RECOMMENDATIONS

The researcher, therefore, recommends that:

1. Films should be used to educate viewers about the complexities of gender roles in Nigerian society and foster empathy, unity and understanding. 
2. Gender scholars, activists, and organisations should ensure accurate and sensitive portrayals and seek feedback on scripts, character development, and thematic elements.
3. Nollywood should develop multidimensional female protagonists with their aspirations, flaws, and agency and avoid reducing them to mere love interests or supporting roles.
4. Filmmakers should be mindful of perpetuating stereotypes related to appearance, behaviour, and roles. Avoid portraying women as solely caregivers or men as emotionless providers.

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Nollywood’s Framing of Violence against Women and Girls in Oloture and The Wildflower

Adanma Vivian Obiora, PhD - Department of Mass Communication,
Chukwuemeka Odumegwu Ojukwu University, Igbariam, Anambra State, Nigeria
Email: av.obiora@coou.edu.ng

Anthony Ogbonna Uche, PhD - Department of Mass Communication, Federal Polytechnic, Offa, Kwara State, Nigeria.
Email: uche.anthony24@yahoo.com

INTRODUCTION

In Nigeria and Africa, generally, women are considered tools to be used by men as they are regarded as objects to be used for pleasure, temptation and elimination (Nsereka & Enyinda, 2018).

Mass media presentations of the activities associated with violence against women and girls become an important aspect of media meanings. Film as a channel of mass media can be a powerful tool for holding perpetrators to account by raising the visibility of issues such as abuse and making it clear that responsibility and blame belong with those who choose to commit these crimes and not with the people whom they victimise (Sunarto et al., 2023). Film is a popular culture because what is seen in movies can change opinions on events and social issues, especially when it is repeatedly presented several times. Nollywood’s film content can shape the viewpoints of its audience. Its depictions can stress the good, the bad and the ugly. It can promote or reinforce oppressive scourges that permeate society like VAWG and can also challenge these scourges and better inform people’s understandings of complex social issues through their framings (Beddows, 2023).

Nollywood's framing does matter, as it can raise public awareness around complex issues like VAWG and challenge myths and misinformation. However, it can also perpetuate and maintain a status quo of oppression against women and girls, depending on how filmmakers frame the menace. Thus, framing would direct the audience's perception, such as taking disparaging standpoints against practices that demean women in society. How VAWG is represented in Nollywood films plays a role in how audiences interpret and make sense of such acts. Movie frameworks may inform how the public engages with and responds to VAWG. The Nigerian film industry, therefore, has an immense responsibility in the fight against VAWG and needs to ensure that the frames and storytelling frameworks are fair and do not normalise VAWG.

Understanding the power of representations that frame VAWG is, therefore, an essential process in eradicating dangerous gender-based violence discourses. How VAWG is framed in Oloture and The Wildflower could help the public locate the issue of violence within the everyday structures of gender relations that have been normalised in our societies. Here lies the impetus for this study: to ascertain whether Nollywood's framings of VAWG in the two selected movies strengthen the menace or deter it.

STATEMENT OF THE PROBLEM

How social issues are presented to the audience is imperative to the meanings they make out of them. Consequently, the depictions' meanings can influence their views and attitudes towards the social topic. The causes of VAWG are societal norms that condone violence, gender stereotypes that feed violent cycles, and discrimination based on gender. So far, the majority of efforts to reduce or end violence against women and girls have gone towards supporting and aiding those who have experienced abuse. Nevertheless, eradicating VAWG requires addressing its origins, dangers, and protective factors. Film, as a branch of the fourth estate of the realm, has an enormous role to play since its powerful capabilities to mirror society and set an agenda for public discussion can influence perception and attitude through its depictions based on the contents’ framing, which can reinforce or dissuade various acts of VAWG. It then becomes imperative to examine how Oloture and The Wildflower film producers have framed VAWG in their productions since their framings can mar or make the feasibility of the United Nations International Declaration on VAWG.

OBJECTIVES OF THE STUDY

The aim of this study, therefore, was to examine the framing of violence against women and girls in Nollywood films. More precisely, the study aimed to:

1. Identify the reflective VAWG themes framed in the Nollywood films.
2. Determine varying proffered solutions to VAWG framed in the two films.

REVIEW OF LITERATURE

Violence against Women and Girls in Nigeria

According to Ileyemi (2023), VAWG is any act that is expressed based on gender motif which results or may result in any physical, sexual, emotional, psychological, or spiritual harm or impediment on women and girls. This also involves threats of such acts and forceful or random denial of freedom in private or public domains. Usigbe (2022) discussed the most common acts of violence against women in Nigeria to include:

1. Domestic violence: Also called intimate partner violence, it is any form of attitude that is meted out against an intimate partner, which may be in the forms of economic, psychological, emotional, physical and sexual abuse. Examples are depriving a partner of financial independence, causing fear through threats to self, partner and children; undermining the partner's self-esteem through name calling, constant criticism and belittling a person's ability; hurting a partner by hitting, grabbing, burning, pinching, punching, shoving, slapping kicking, or denying them to see family and friends; and forcing a partner to have sex or a sexual act against their will.
2. Femicide: This is consciously taking the life of any female folk just because she is a woman or girl.
3. Honour Killing: The killing of a female family member for allegedly bringing shame or dishonour to the family’s image.
4. Sexual Violence: Any form of sexual act meted against the consent of another person, which may be due to age, mental state, unconscious or drugged/drunk. 
5. Sexual harassment: Taking advantage of physical contact with a female folk without her approval. It may be in the forms of pinching, slapping, rubbing, caressing, grabbing and even non-physical acts like sexual comments, inappropriate gaze, sexually suggestive stalking, among others.

Other forms of violence against women include rape which involves non-consensual penetration of another person with any bodily part or object, including corrective rape for heterosexuality or gender identity conformity. Human trafficking involves the acquisition and exploitation of people through force, fraud, coercion, or deception. Female genital mutilation (FGM) involves intentionally altering or causing injury to female organs for non-medical reasons. Child marriage is, any marriage where one or both spouses are below 18, is another form of abuse against women and girls. Non-consensual sexting involves sending explicit messages or photos without consent ,  and doxing involves the public release of private or identifying information about the victim, among other instances.

Nollywood Film as a Tool for Social Change to Eliminate VAWG in Nigeria

Nollywood, Nigeria's creative film industry, has developed as an influential medium for discussing societal issues, its heterogeneous stories and relevant characterisation. It has addressed many social problems, hence crucial in creating awareness and setting a public discussion agenda. Adeola (2023) opined that Nollywood films have done exceedingly well in depicting corrupt practices in Nigerian society and have provided thorough conversation that motivates audiences to think about their roles in encouraging or dissuading the spread of corruption. Their depictions of corruption have produced more informed and engaged citizens.

Nollywood films have also addressed the issue of domestic violence, which remains a prevalent problem in Nigeria. Through emotional storytelling and compelling performances, Nollywood films bring to light the physical and psychological trauma experienced by victims. Oyewole (2023) suggests that these films play a critical role in breaking the silence around domestic violence, encouraging victims to speak out and seek help. By raising public awareness, Nollywood film contributes to the broader movement against domestic abuse and supports efforts to create safer communities. In addition, Hernandez and Gomez (2023) argue that Nollywood's portrayal of strong female characters and their battles against societal constraints inspires women, promoting gender equality and empowerment. These narratives help to challenge traditional gender roles and advocate for a more equitable society.

The representation of diverse ethnic and cultural identities is another area where Nollywood film makes a significant impact. Nigeria’s complex ethnic landscape often breeds tension and conflict, but Nollywood’s inclusive narratives promote understanding and unity. Adeoye and Adegbulugbe (2021) highlight that films depicting inter-ethnic cooperation and harmony help to mitigate ethnic tensions and foster social cohesion. 

The capabilities of Nollywood films to address the above societal issues make it a powerful tool to address the issue of VAWG. This study is not just about showcasing acts of VAWG in film productions but also about how the presentations were framed. Did the frames reinforce the status quo or attempt to dissuade oppressors from carrying out VAWG? Were victims framed as guilty or blamed? Were there frames that reflect appropriate punishments for perpetrators? These are the pertinent questions this study tried to find answers to by evaluating Nollywood's framing of VAWG in Oloture and The Wildflower films.

THEORETICAL FRAMEWORK

This study is anchored on framing theory propounded in 1974 by  Erving Goffman, who argued that interpretive design frames that we use in our day-to-day experience to make sense of the world help reduce the intricacy of information we receive. Frames help interpret and reconstruct reality. The ideology of frames here is its theoretical origin, an ideological approach which argues that the meaning of what we feel about the world is based on societal beliefs, experiences, and knowledge. 

The use of framing theory is typical to this study as it identifies the use of frames in films to depict gender lines or imbalances of the portrayals of violent acts against women and girls in Nigerian society that may seem stereotypical. McQuail (2005), as cited in Obiora and Odoh (2020), explained that framing theory suggests that how something is presented to the audience, called a frame, influences the choices people make about processing the information. The framing theory explains how Nollywood producers use frame building to depict various oppressive acts in the representation of issues relating to VAWG in their productions. It means that film and its contents come with frames, angles of thought, or ideology, which the filmmaker expects his audience to grasp in their productions; filmmakers not only give the audience what to reflect on but also how to perceive the issue presented.

METHODOLOGY

This research design used a qualitative research method which involved two Nollywood films, Oloture and The Wildflower , purposively selected based on content that was in line with the topic. Data extracted were thematically read, interpreted and presented to arrive at the findings. 

DATA ANALYSIS AND DISCUSSIONS 

All the findings are interpretations of the researchers, which are intended to give a better understanding of the film. The following themes were framed in the films: Exploitation and Subjugation, Rape and Attempted rape, Victim blaming, Physical abuse, human trafficking, Emotional and Psychological abuse, Silencing of victims, Killings and Death, Patriarchal Society, Lawless and Insecure Society, Inappropriate Touching, and Lack of Professionalism within Security Forces.

Exploitation and Subjugation: The film Oloture unveils, among other themes, the issues of systemic exploitation and subjugation of women. Through the lens of the camera, the problems of economic lack and illiteracy are depicted as significant contributors to the vulnerability of women. Adversity often compels individuals to submit to demeaning and exploitative ventures. It becomes glaring as Oloture (Ehi), an undercover journalist, steps deep into the world of human trafficking and prostitution in Nigerian society. Prostitution often showcases women and girls as mere commodities meant to be bought and sold. Such commodification strips them of their self-worth and dignity. It is in line with the postulation of Ogbe (2020) that lack of opportunities and economic hardships result in the subjugation of women.

Rape and Attempted Rape: This violent act against women and girls was framed prominently as the lead actresses in both films were forcefully violated. In Oloture 's film, the girls who are on the journey to Europe are picked among passengers at different times to be raped by men who sheltered them. The girls are treated as tools to satisfy men's desires. Even the journalist undercover, Ehi, is drugged and raped while she seeks excuses not to indulge in prostitution. In The Wildflower , the serial rapist, Mr Gowon, rapes all the girls that work under him as personal assistants and Jontana William, in the same vein, attempts to rape Adaolisa until she hits him with a beer bottle in self-defence. The victims of rape in these two films were framed to be overpowered by their villains and appear dazed and helpless while being raped. The perpetrators at no point felt bothered about the pain meted out to these women but instead felt fulfilled and unremorseful. For Mr Gowon in The Wildflower , he ends up throwing a bundle of money notes at every victim to go get contraceptives while he still expects them to act normal the next day as if they were not raped by him the day before. He said to Rolake, "You can't still tell me you are bothered about that little incident", He referred to rape as a little incident despite his education and social status as a Chief Executive Officer of a construction company. 

Victim/Self Blaming : All victims of VAWG in both films either blamed themselves for the violence meted against them or were blamed by others. In the movie The Wildflower , Mama Adaolisa, who is being physically abused by her husband every day, blames herself for causing the beating because she is supposed to keep quiet while the husband scolds her. She went ahead to blame all women for any assault they get as she described women as talkative, which makes their husbands beat them. Rolake's boyfriend, Nedu, categorically tells her when she told him in tears that the boss raped her, “I told you, I told you”. He left her without any consolation in words or actions afterwards without looking back. Adaolisa, whom Jontana attempted to rape, was arrested by the Police because Jontana's mother felt Adaolisa wanted to kill her only son, so she called for her arrest as she screamed at her, "What is in you that will make my son rape you?” In Oloture movie, Linda, one of the prostitutes in Chuks’ brothel was physically abused by Chuks, a pimp. When asked to disengage from him to avoid further abuse, she replied, "Na me vex am", implying that she provoked him to anger and made Chuks hit her badly—blaming herself for injury inflicted on her by another. That does not support the stance of Sunarto, Yusriana, Pratiwi and Safira (2023), who see the film as a powerful tool for holding perpetrators to account by raising the visibility of issues such as abuse and making it clear that responsibility and blame belong with those who choose to commit these crimes and not with the people that they victimise.

Human trafficking: This was profoundly framed in the Oloture movie as a business, way of life and source of livelihood. Brothels are run by men who traffic girls abroad for prostitution. The girls who are into prostitution are already eager to go to Europe for greener pastures as they believe that their work as prostitutes would earn them better in Europe. So, they show a willingness to be trafficked as they pay in dollars to ensure they are enlisted in the journey. Linda even secured a spot for her underage sister, 17-year-old Beauty, who travelled from the village to join the adventure without knowing what lies ahead. The family background of Linda and Beauty is depicted as wretched. Usigbe (2022) notes that due to many factors, including the escalating level of poverty, lack of viable opportunities, fallen family values, the attraction to earn foreign exchange, which is more valuable than the local currency and the desire to get rich quickly, many use any means to get into the trafficking ring. 

Physical and Psychological Abuse: This was well foregrounded within the camera frames as both films reflected women and girls being beaten by men. In The Wildflower movie, Jimmy, Adaolisa's father, hits his wife every night as a daily routine, even on trivial issues like not giving him dinner when he did not provide as the breadwinner. In Oloture 's movie, girls are beaten to force them to act against their will. Girls in the brothel, like Linda and Blessing, who have a relationship with Chuks, the pimp, are ruthlessly beaten by him because they attempted to leave his brothel. Even Alero, the only female trafficker, is not left out of the physical abuse within the trafficking cartel as well. Ehi was physically assaulted by Chuks when he tried to get a piece of information about her identity from her. The girls in human trafficking in Oloture film are seen within the lens of the camera being subjected to psychological trauma.

When they seemed confused about their itinerary to Europe and asked questions, they were screamed at, pushed and ordered around. They were excommunicated from family and friends as their phones were all ceased. They were psychologically bamboozled to take blood oaths of death in the nude, while lying in a coffin. This left horror all over their faces. In The Wildflowe r film, Jimmy does not spare his partner with disrespect and name-calling, even as his wife. Women and girls in both films are subjected to physical and psychological assault. They are confronted with several dehumanising conditions. The impact of this violence and emotional torture on them is better imagined than experienced. Frames depict that they are scared, helpless, and traumatised. The perpetrators of this physical abuse all through the two films are men showcasing their physical strength on women. It is in tandem with Nwaolikpe's (2018) opinion that in a typical Nigerian society, women are still regarded as less or inferior to men and are hence treated in ways undeserving of human beings.

Silencing the Victims : Victims of VAWG depicted in the two movies seem to be silenced of their ordeals by societal norms, money, social networks and political power. In The Wildflower film, all of Mr Gowon's assistants that he raped were very reluctant to speak out, either because of what society will say and call them blackmailers or due to Mr Gowon's financial and social network. Even Dotun, a pastor who married one of Mr. Gowon's victims, Yinka, saw no need for his wife to speak up as he urged her to leave it for God. However, due to Yinka’s resilience to speak up, it was her recorded rape incident that served as evidence to nail Mr Gowon at last. In Oloture 's movie, the girls doing prostitution are silenced by being physically assaulted, threatened of not going to Europe and the blood oath they took. This is evident as Beauty believed the oath killed her mother. Usigbe (2022) notes that some cultures in Nigeria usually do not permit women to speak up in public, so many female victims of violence may suffer in silence.

Killings and Death : The VAWG framed in the two films connotes that death is a certain consequence of VAWG when it persists. It is depicted in The Wildflower film as Jimmy's physical abuse of his spouse led to her death. Linda was maimed in cold blood because she used the phone after they were excommunicated. Moreover, almost all the girls in human trafficking in the Oloture film were killed in a territory invasion war between two trafficking cartels; only Ehi and her friend survived. This is in tandem with Müller (2021), who notes that forms of violence against women and girls can lead to depression, post-traumatic stress and other anxiety disorders, sleep difficulties, eating disorders, and fatal outcomes like homicide or suicide. In other words, VAWG can result in severe physical, psychological or social consequences or even death.

Inappropriate Touching : Through the lens of the camera, inappropriate touching was portrayed in both films as one of the forms of VAWG. In The Wildflower movie, Jontana Williams is seen touching Adaolisa inappropriately, as though she is an item to be felt, smelt, and touched. In the film   Oloture , the girls as prostitutes were indecently touched as well as made to dance seductively for men when they seem not to desire it. These frames present women and girls as erotic items to initiate their sexual desires. Nsereka and Enyinda (2018) assert that in Nigeria and Africa, generally, women are considered tools to be used by men as they are regarded as objects to be used for pleasure.

Lack of Professionalism within Security Forces : Both films presented security officers as inactive. The agency cannot respond to citizens' emergency predicaments when due. In The Wildflower movie, neighbours to Jimmy expressed their disappointment in the response from the police force when they realised that Jimmy had beaten his wife to death and needed the force to look for him and arrest him for homicide. However, they were told to wait till the next day as they did not have fuel in their vehicle. To worsen this, the film never presented through the lens of the camera that Jimmy was arrested for a murder crime, which means he did not face the consequences of the murder committed.

Moreover, when Mrs William, Jontana's mother, demanded the arrest of Adaolisa, 17 years old, for attempted murder, the police officers went on with the arrest without investigating whether the arrest was justified until Rolake and the Doctor went for her release by giving the accurate report of the event. It was like the police arresting a victim for a crime committed against the same victim without due interrogation. In Oloture , law enforcement agents are often caught in the web of human trafficking. Some top political figures and security officials are complicit in perpetuating violence against women by collecting bribes. In connivance with the law enforcement agency, women victims find it difficult to escape the jungle of human trafficking, and thus, it becomes easy for the perpetrators to cross national boundaries, jump the law and escape due punishment for the crime. This is in line with Obiora and Uche's (2024) assertion that there is laxity in the Nigerian security forces as they are undertrained, corrupt and slack in carrying out their responsibilities.

Patriarchal Society: The two films framed their typical society as patriarchal. All the acts of VAWG meted on women and girls in the two movies were all carried out by men. The dominance of men in gripping the girls to helplessness while they are being raped and beaten reflects men as being in control to get whatever they want from women, even without women's approval of it. The ownership and control of the human trafficking cartels are all run by men. The involvement of female trafficker Alero in Oloture is not different as she is still being controlled by men whom she works for and, in the same vein, is seen being physically assaulted, threatened, and, at a time, lives in fear of her bosses. Girls, as prostitutes, were brought to male politicians' events to satisfy them sexually. Muller (2021) sees VAWG as a way to exercise power, control someone, or oppress the other person. The majority of perpetrators across the world are male, and in the case of sexualised violence, they are almost exclusively male. Most come from the close social environment of those affected. Worldwide, women and especially their bodies are still treated as the property of their husbands, fathers and families.

Lawless and Insecure Society : The two films portrayed our society as lawless and unsafe for women and girls, as no perpetrator of any act of VAWG was depicted to have faced the wrath of the law. In The Wildflower film, Jimmy was never searched for, arrested, prosecuted and jailed for murdering his wife to death through physical abuse after he fled. Mr. Gowon, on the other hand, was prosecuted but not convicted, as the frames showed that it was still an ongoing court case. This implies the nature of protracted court cases in our society, and at times, victims are discouraged by how long it takes them to get justice. On the other hand, Oloture movie presented no arrest, prosecution or conviction of all perpetrators of VAWG in the movie. Rather, the perpetrators had the upper hand in killing girls and themselves so far, any stands against the success of their trafficking business. This goes to show that those who commit VAWG in our society can get away with it, and that keeps our society unsafe for women and girls because if VAWG criminals are not prosecuted and convicted for their crimes, more perpetrators will emerge as there is no consequence for such cruel acts. According to the World Bank (2022), at least 155 countries have passed laws on VAWG, and 140 have legislation on sexual harassment in the workplace. However, challenges remain in enforcing these laws, limiting women and girls' access to safety and justice. Not enough is done to prevent violence, and when it does occur, it often goes unpunished.

THEMATIC ANALYSIS OF SOLUTIONS TO VAWG

In terms of solutions to the incidence of violence against women and girls, the two films offer limited help, as specified and analysed below:

Relevance of the Media : The media is framed as very relevant in fighting against VAWG in society, as seen in The Wildflower  film. Rolake used social media platforms to speak up about Mr. Gowon’s rape escapade and the traditional media cue to disseminate the story, which gave rise to other victims who all joined the same process to tell their stories. Thus, Mr. Gowon, a serial rapist, is brought to the public, which leads to his prosecution and the end of his service in the office. In the film Oloture, Ehi, as an undercover journalist, used her expertise to get information for her story, though not published, aided the trail of human traffickers by the police. However, the police officers were late for the rescue mission. The media as an agenda setter is framed as the news of Mr Gowon’s rape escapade spreads through the social and traditional media, making the crime a public discourse as the audience is seen engaging with the story. Ileyemi (2023) asserts that one strategy that may work is the involvement of the media as a critical actor and a powerful tool for highlighting the benefits of the Maputo Protocol (elimination of VAWG) and ultimately mobilising public support for its domestication in Nigeria as failure to domesticate and implement the provisions of Maputo Protocol, has continued to pose devastating consequences on girls and women in the country.

The Court of Law: To some extent, in The Wildflower  movie, the law's power manifests when Mr. Gowon is prosecuted. The evidence made available to the court of law seems valuable as his countenance is framed disappointed, and that of Rolake framed smiling to indicate that the evidence has relevance in the case of rape. It shows the strength of the law in the face of VAWG. If perpetrators of VAWG are prosecuted, it will go a long way toward eliminating it. However, judgment on the case was out of frame, which may mean that delayed judgment can be denied. This is in line with Isham and Lopez-Claros's (2021) research findings that indicated the presence of domestic violence legislation may have saved many lives of women, perhaps millions, over the period covered by their analysis.

Power of Speaking up : The Wildflower film frames speaking out as a powerful tool to eliminating VAWG. Rolake used social media to tell her story, and that motivated other victimised girls to come forward and speak up, which revealed the serial rapist Mr Gowon to all and sundry. That gives voice to the voiceless, informs unsuspicious victims and scares other intending rapists that victims will speak up. Speaking up also serves as evidence in prosecution against the perpetrator. This frame supports Oyewole (2023), who suggests that these film frames play a critical role in breaking the silence around domestic violence, encouraging victims to speak out and seek help. By raising public awareness, Nollywood film contributes to the broader movement against domestic abuse and supports efforts to create safer communities.

CONCLUSION

Oloture and the Wildflower films  depict the realities of violence against the female folk. Both films provide firsthand insight into the representation of violence, subjugation and victimisation of the female folk inherent in Nollywood. The films equally highlight the high level of complicity, conspiracy and corruption replete in society that are often targeted against women and girls, thereby perpetuating violence against them (Toromade, 2024; Obiora & Uche, 2024; Emwinromwankhoe & Azeez, 2021). 

Specifically, Oloture film depicts systemic exploitation and the concomitant physical and psychological violence inherent in human trafficking; The Wildflower , however, focuses more on domestic abuse and the emotional toll it takes on female victims. On a positive note, both films highlight the strength and resilience of women in the face of violence, deprivation and exploitation, thus advocating for awareness, behavioural and systemic change. While contributing to the discourse on gender-based violence (GBV), especially violence against women and girls (VAWG), the films also serve as relevant narratives that challenge media audiences to address these negative issues, thus highlighting the need for a more equitable society. 

RECOMMENDATIONS

Arising from the analysis and findings of this work, the authors wish to make the following recommendations:

1. Filmmakers should ensure balance in their narratives instead of skewing their plots to favour the male folk.
2. Filmmakers, while contributing to ongoing discourses on gender-based violence, should help in building an equitable society by also depicting through their lens solutions instead of highlighting only the problem.
3. Nollywood filmmakers should allocate enough screen time to the consequences and punishment for perpetrators and supporters of violence against women and girls.
4. Nollywood filmmakers should expose the role of agents of the state who, through overt or covert means, perpetuate violence against women and girls.
5. Filmmakers should also highlight plots that show the resilience of women folk and their determination to resist violence, servitude and all manner of exploitation by the Nigerian society.
6. Nollywood films should highlight the availability of support systems for victims of human trafficking, sex abuse and domestic violence against women and girls.  
7. Nollywood filmmakers should include in their narratives the role of every member of Nigeria in addressing gender-based violence for the good of all.
8. Nigerian women and girls should stand up and work together towards addressing the challenge of sexual exploitation, physical and psychological abuse and violence targeted against them.

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Portrayal of Girls in Nollywood Films: 
Socio-Cultural and Semiotic Perspectives

Timothy Ekeledirichukwu Onyejelem, PhD-
Department of Journalism and Media Studies ,  Federal University Otuoke, Bayelsa State, Nigeria
Email: timothyeo@fuotuoke.edu.ng

Uche Oboko, PhD -  Department of English and Literary Studies ,  Dennis Osadebay University, Asaba, Nigeria
Email: oboko.gloria@dou.edu.ng

INTRODUCTION

The portrayal of girls in Nollywood films critically reflects Nigeria's societal norms, cultural ideologies, and evolving political landscapes. Nollywood, the cinematic sector of Nigeria, is highly esteemed for its substantial impact on societal perceptions and values, particularly about gender roles and identities (Okome, 2012). In numerous Nollywood productions, female children are frequently portrayed in manners that reinforce or contest entrenched stereotypes and anticipations, functioning as both reflections and shapers of societal attitudes (Ogunleye, 2014). These representations are not immutable; they evolve through cultural, political, and social transformations, mirroring broader shifts within Nigerian society (Adesokan, 2011).

Contemporary academic discourse (Ajibade, 2013) indicates that Nollywood's depiction of female children has experienced notable alterations, particularly in modern discussions regarding gender equality and children's rights. Examining these transitions is critical to provide insight into how Nollywood supports or contests prevailing narratives concerning female children and their societal roles. Haynes (2016) agrees that the changing patterns of portrayal within Nollywood films may serve as a prism for comprehending Nigeria's broader cultural, social, and political dynamics in the present day.

The Nigerian film sector, specifically Nollywood, has achieved considerable global acclaim over recent years, establishing itself as the second-largest film industry globally in terms of production volume (Ogunmilade & Falade, 2018; Onyejelem & Ndolo, 2018). Through its capacity to shape societal perceptions and attitudes, Nollywood films play a pivotal role in reflecting and influencing cultural norms, values, and ideologies (Adeyemi & Ekinez, 2019). However, the Nigerian girl child is often portrayed in Nollywood films in specific roles that perpetuate traditional gender stereotypes and expectations. According to Onyejelem (2024), these stereotypes may depict girls as passive, submissive, and dependent on male figures. Such portrayals can shape societal perceptions and limit the aspirations and ambitions of young girls, hindering their potential and desire to become future leaders (Oboko & Morah, 2013).

Previous studies have highlighted the impact of media on shaping societal perceptions and the need to critically analyse the semiotic aspects of gender representation in popular culture (Adagbon et al., 2018; Daramola & Oyero, 2019; Olatunji & Ekundayo, 2020; Maikaba & Andover, 2019; Kurfi & Aondover, 2021; Onyejelem et al., 2023; Onyejelem, 2024). To address this apparent research gap, this study aims to conduct a socio-cultural semiotic analysis of Nollywood films, focusing on the representational dynamics of the girl child. Semiotics, the study of signs and symbols, provides a framework for analysing how meanings are constructed and communicated through various visual and narrative elements (Halliday, 1978). According to Johnson (2019), semiotic analysis is a powerful tool for decoding the hidden meanings embedded in visual texts such as films.

Also, understanding the representation of the girl child in Nollywood films is essential for discerning implications for current and future leadership. Analysing depictions of the girl child in these films illuminate societal norms regarding gender and leadership. It can guide policymakers, educators, and media professionals in formulating strategies that promote gender equality and empower girls as future leaders. This study explored the ideologies underlying the portrayal of girls in these representations, examined shifts in the representation of cultural, political, and social changes, and evaluated contemporary portrayal patterns to understand their impact on societal perceptions of girl children.  Furthermore, the study offers insights into the potential consequences of these representations on girls' perception of themselves and their aspirations for leadership positions.

STATEMENT OF THE PROBLEM

The representation of the girl child in Nollywood films has significant socio-cultural and semiotic implications that extend beyond mere entertainment and has  become a topic of concern due to its potential implications for forming future leaders. Despite the growing influence of Nollywood as a cultural force, there needs to be a more comprehensive analysis of how these films portray young girls and the potential impact of these portrayals on societal perceptions and future leadership. This study seeks to address the gap by examining the representational dynamics of the girl child in Nollywood films. The problem lies in the often stereotypical and limited portrayals of girl children, which may reinforce harmful gender norms and restrict the perceived potential of young girls. These portrayals can influence the audience’s understanding of gender roles and expectations, potentially affecting the aspirations and self-perception of young girls who consume these media. It is essential to conduct a socio-cultural and semiotic analysis to uncover the underlying messages and ideologies embedded in these films and their broader implications for gender equality and leadership development. It is this lacuna in research that the current study seeks to fill.

SIGNIFICANCE OF THE STUDY

The study is relevant to various stakeholders, including scholars, policymakers, educators, and filmmakers. The study sheds light on the socio-cultural narratives that shape perceptions of gender, identity, and childhood. Such understanding is crucial for recognising the impact of media on societal values and norms. This study is significant for its academic contributions and potential to influence cultural narratives, inform policy dialogue, and inspire social change regarding the representation of the girl child in Nollywood films. Its implications extend beyond the cinematic realm, reaching into society's fabric and shaping tomorrow's leaders.

OBJECTIVES OF THE STUDY

The study generally aims to analyse the signs, symbols, and cultural meanings attached to the representation of girl children in Nollywood films and how these representations impact perceptions of female leadership qualities across different periods - yesterday, today, and the future. Specifically, the study seeks to:

1. Examine the ideologies surrounding the portrayal of girl children in Nollywood films;
2. Identify shifts in representation that correspond with changes in cultural, political, and social landscapes for past leadership models of the girl child; 
3. Evaluate the contemporary portrayal patterns of the girl child in Nollywood films.

CULTURAL CONTEXT AND GENDER REPRESENTATION

In examining the representation of the girl child in Nollywood, the cultural context of film production and consumption is crucial. As a cultural artefact, Nollywood mirrors and influences the socio-cultural dynamics in Nigeria. Nwankwo (2012) contends that Nollywood films frequently replicate traditional gender norms while presenting alternative narratives that contest these norms. Such duality raises critical inquiries regarding the impact of such portrayals on the identity formation of young audiences. For instance, the representation of girl children in modern Nollywood films may indicate evolving perspectives on female autonomy and leadership, suggesting a shift towards more progressive portrayals (Afolabi, 2020). According to Onyejelem and Nwokeocha (2024), films that showcase girls overcoming challenges, leading communities, or defying societal norms can motivate and empower upcoming female leaders. Conversely, films that perpetuate antiquated stereotypes may obstruct girls' ambitions and sustain cycles of inequality.

Historically, Nollywood films have often depicted women and girls in stereotypical roles that reinforce patriarchal norms. Nwankwo (2012) argues that early Nollywood films frequently portrayed female characters as submissive and dependent, reflecting the broader societal attitudes towards gender roles in Nigeria. This representation has significant implications for the socialisation of young girls, as it limits their aspirations and potential for leadership (Chika, 2021). Through a semiotic lens, Barthes (1977) emphasises that the signs and symbols used in media can shape cultural narratives. In the case of Nollywood, these narratives have often marginalised female agency.

Recent studies indicate a shift in the portrayal of girl children in Nollywood films, reflecting changing societal attitudes towards gender equality. Ogunyemi (2022) highlights that contemporary Nollywood films increasingly feature young female characters who embody resilience, leadership, and empowerment. These films serve as narratives of change, challenging traditional stereotypes and promoting a more positive image of girls. Afolabi (2020) corroborates that films depicting girls overcoming adversity inspire audiences and encourage young viewers to envision themselves as leaders. This shift in representation is crucial for fostering a sense of agency among today's girls as they navigate their roles in a rapidly evolving digital society (Onyejelem, 2023).

Futuristically, the implications of these evolving representations extend beyond the present, shaping the aspirations and identities of future leaders. Okafor (2019) posits that the narratives constructed in contemporary Nollywood films can significantly influence the leadership trajectories of young girls. By providing positive role models and challenging systemic stereotypes, these films can empower girls to pursue leadership positions in various spheres of life (Nwankwo, 2023). The semiotic analysis of these films reveals how the meanings attached to girlhood and leadership are constructed and disseminated, ultimately impacting the societal perception of female potential.

Moreover, the intersection of media representation and leadership development is critical for understanding the role of Nollywood in shaping cultural narratives. Onyejelem et al . (2021) assert that representation is not merely about reflecting reality but also about constructing it. Therefore, the portrayal of girls in Nollywood films is instrumental in defining what leadership looks like for future generations, encouraging a more inclusive understanding of female leadership.

THEORETICAL FRAMEWORK

The study is anchored on two theories: The Digital Generative Multimedia Tool Theory (DGMTT), as articulated by Onyejelem and Aondover (2024), henceforth referred to as DGMTT, and Semiotics by Saussure (1983) and Peirce (1958). The framework of DGMTT emphasises the technological innovations offered by digital generative multimedia tools. It extends to the processes of meaning-making in media representations, particularly concerning the portrayal of the girl child in Nollywood films.

The Digital Generative Multimedia Tool Theory (DGMTT)

DGMTT posits that digital technologies allow for the creation and manipulation of multimedia content in ways that can shape perceptions and narratives. In the context of Nollywood films, these tools facilitate a representation of the girl child that transcends traditional portrayals, enabling filmmakers to engage the audience in more nuanced discussions about gender, identity, and leadership. The theory suggests that the meanings derived from these representations depend on the interplay of visuals, sounds, and textual elements, collectively constructing specific narratives about the girl child (Onyejelem & Aondover, 2024).

Semiotics as a Framework for Understanding Representation

Semiotic theory, which explores how meaning is created and communicated through signs and symbols in Nollywood movies, not only in language but also in visual imagery, cultural practices, and roles of girl children, is equally deployed in this study. According to Asemah et al. (2017), semiology or semiotics is the study of signs and symbols as elements of communicative behaviour, which traces its origins to the early 20th century, with foundational contributions from both Ferdinand de Saussure and Charles Sanders Peirce, which centres on how meaning is constructed and communicated in social contexts. The semiotic framework explores how the girl child is represented in various roles as a leader, victim, or agent of change. Understanding these representations sheds light on the cultural perceptions of female empowerment and the capability of girls to influence societal structures. The semiotics of girl child representations in Nollywood films underscores the significant implications for leadership across historical, contemporary, and future contexts. As representations evolve, they have the potential to inspire and empower girls, fostering a new generation of leaders who challenge traditional norms and advocate for gender equality. Continued research in this area is essential to understand further the complexities of representation and its impact on societal attitudes towards female leadership. 

Semiotics, the analysis of signs, facilitates the interpretation of meanings in visual texts like films. In this context, semiotics is used to explore the representation of girl children in Nollywood films. Barthes (1977) posits that media signs function on two levels: denotative (literal) and connotative (cultural). In analysing girl-child portrayals, attention to both levels is essential. For instance, a girl in a leadership role (denotative) may imply empowerment (connotative) within a cultural framework. Conversely, girls depicted in subordinate roles may perpetuate stereotypes and hinder perceptions of female leadership (Hall, 1997). Researchers can uncover these representations' explicit and implicit social values through semiotic analysis.

Nollywood films often reflect cultural codes that inform societal beliefs about gender roles (Hall, 1997). A semiotic analysis enables the identification of these codes, assessing how they reinforce or challenge traditional narratives surrounding the girl child in Nigerian society. Onyejelem and Aondover (2024) emphasise that the media reflects and influences societal values. Thus, portraying the girl child in Nollywood films might have significant implications for constructing leadership identities. The narratives crafted through these films can empower young viewers, shaping their aspirations and perceptions of leadership.

However, using DGMTT as a theoretical framework in conjunction with semiotic analysis allows for a comprehensive understanding of the representational dynamics of the girl child in Nollywood films. By dissecting the semiotics of these portrayals, the research elucidates their implications for leadership across generations, illuminating the ongoing struggle for gender equity and representation in media.

RESEARCH GAPS

Several research gaps can be identified in the context of this particular study. First, while existing studies address the portrayal of women and children in Nollywood films, there needs to be more research that focuses solely on the girl child. The existing literature broadly discusses women in general or children without delving into the unique socio-cultural and semiotic dynamics that specifically affect the girl child. This gap highlights the need for a targeted analysis of how the girl child is represented and the implications of these representations.

Research on the evolution of girl child representations in Nollywood films from the past to the present and how these shifts can affect upcoming leadership generations, is needed. This long-term viewpoint may shed light on how social and cultural perceptions of girls are changing. More research has to be done on how public opinion and empowerment are impacted by representations of women and girls in Nigeria, as some studies touch on these topics. This research could close this gap by investigating how social perceptions of female leadership and the girl child are impacted by Nollywood's depictions of the girl kid.

Research on the representation of the girl child in Nollywood films needs to include in-depth semiotic analysis to understand the cultural narratives and ideologies that shape their perception. Existing literature often addresses gender stereotypes and sexism without considering diverse cultural backgrounds within Nigeria. The reviewed studies did not consider the intersectionality of class, ethnicity, and socio-economic status in representing the girl child, thereby providing a nuanced understanding of gender representation in Nollywood films and its societal implications.

FINDINGS, DATA PRESENTATION AND ANALYSIS 

Data collection was purposively done by selecting Nollywood films released over three decades (1990s, 2000s, and 2010s). Criteria for selection were based on films that prominently feature the girl child as a central character or theme. The analytical framework was anchored on semiotic analysis to decode visual and narrative symbols related to the girl child. Examination of themes such as empowerment, vulnerability, education, and societal roles formed the basis of the analysis for the study.

Table 1 : Film Selection and Key Themes

FINDINGS AND SYNOPSIS OF THE SELECTED MOVIES FOR THE ANALYSIS

Fig 1 : Living in Bondage (1992) 

"Living in Bondage" is a Nigerian film directed by Chris Obi Rapu, produced by Kenneth Nnebue, and released in 1992. The film follows the story of a man who kills his wife in a ritualistic sacrifice, becomes a member of a secret cult, acquires vast wealth, and is later plagued by his wife's spirit.

Fig 2: Ijé – The Journey (2010)

Ijé is a 2010 Nigerian drama film directed by Chineze Anyaene. The movie follows the story of Chioma, a child from the Nigerian countryside, who warns her sister Anya about the dangers of leaving home for a foreign land. 

Fig 3 : The Wedding Party (2016)

The Wedding Party is a 2016 Nigerian romantic comedy-drama directed by Kemi Adetiba. It premiered on September 8, 2016, at the Toronto International Film Festival. The film revolves around the chaos during a wedding, showcasing the complexities of family dynamics and relationships.

Fig 4 : Lionheart (2018)

Lionheart is a (2018) Nigerian film directed by Genevieve Nnaji. It is about Adaeze, who takes over her family's struggling business after her father falls ill, working alongside her uncle to prove herself in a male-dominated industry.  

EXAMINATION OF IDEOLOGIES SURROUNDING THE PORTRAYAL OF GIRLS

The semiotic analysis of female children's representation in Nollywood films reveals a complex interplay of signs, symbols, and cultural meanings that reflect evolving ideologies surrounding female leadership. This finding is evident in the movie Ije (2010),  as Chioma acknowledges: “Once a woman is raped, nobody wants to touch her again….” She admonishes Anya: “Stand and face your fears tomorrow, just like you did for me the other day….” The stigma associated with rape and rape victims is highlighted in this scene, as well as the culture of shame and silence. Anya faces the possibility of spending the rest of her life behind bars in the United States due to the cultural clash between her and Nigerian society's attitudes towards rape and its victims. By examining the ideologies, identifying shifts in representation, and evaluating contemporary portrayals, this study elucidates the implications of these representations on perceptions of female leadership qualities across different periods of yesterday, today, and tomorrow. 

While Living in Bondage  emphasises subservience, familial loyalty, and dependency on male figures, Ijé, Wedding Party, and Lionheart explore female empowerment. Thus, contemporary films focus on female characters' experiences, emphasising their strength, resilience, and ability to overcome challenges. The films portray the struggles of women in a patriarchal society and their pursuit of independence. The analysis also integrates the study's objectives, aligning them to the tenets of DGMTT, which allows artists and creators to present their works in captivating and interactive forms. The DGMTT believes that creators can enthral audiences, elicit strong feelings, and fully engross viewers in their artistic expressions through audiovisual content. This further concurs with semiotic theory, which helps viewers decode the meanings embedded in films, providing a comprehensive framework for understanding these dynamics. 

IDENTIFICATION OF SHIFTS IN REPRESENTATION CORRESPONDING WITH CULTURAL, POLITICAL, AND SOCIAL CHANGES

The study identified significant shifts in the representation of girl children corresponding to broader cultural, political, and social changes in Nigeria. The transition from the patriarchal narratives of the 1990s to the more progressive portrayals of the 2000s is indicative of a society grappling with changing gender dynamics. In Ijé , for instance,  Anyaene presents a story of Chioma, a child growing up in the Nigerian countryside, who warns her restless sister, Anya, about the trappings of the American dream. Ten years later, Anya is accused of killing three men in a Hollywood Hills mansion, including her record-producer husband. Chioma travels from Nigeria to Los Angeles and, with the help of a young, unproven attorney, discovers that the dark secret her sister wants to keep hidden might be the only thing that can win her.

This semiology reveals that patriarchal norms and cultural expectations have historically influenced the ideologies surrounding the portrayal of girl children in Nollywood films. In earlier Nollywood films, particularly during the 1990s, as noted by Okunna (1996) in her analysis of "Portrayal of Women in Nigerian Home Video Films: Empowerment or Subjugation",  women were often depicted within traditional frameworks that emphasised subservience, familial loyalty, and dependency on male figures. This portrayal reflects a broader societal belief that limited women's agency and reinforced the notion that leadership was inherently male.

However, as Nollywood evolved, so did the ideologies reflected in its narratives. Incorporating female characters who challenge traditional roles and pursue education and career aspirations signifies a shift toward a more empowering representation of girl children. This transformation also aligns with the tenets of DGMTT, which posits that digital media can generate new narratives and meanings that challenge existing paradigms. Using multimedia storytelling techniques, filmmakers can reshape cultural narratives and present girl children as active agents of change, thereby influencing societal perceptions of female leadership. This is portrayed in Lionheart , where Adeze has to work with her uncle - Ernest Obiagu, to rescue the company from the hands of rival businessman - Igwe Pascal. Together, they must try to rescue Lionheart, a leading transport company in eastern Nigeria, even if it takes them to other parts of the country.

The rise of feminist movements and increased advocacy for women's rights and education during the contemporary period in the history of Nigeria is mirrored in Nollywood films, which began to feature girl children in roles that emphasised independence, ambition, and leadership potential as shown in The wedding party and Lionheart respectively. Semiotic theory can analyse these shifts, emphasising the importance of signs and symbols in conveying meaning. The representation of girl children as leaders or aspiring leaders in contemporary Nollywood films serves as a signifier of the changing cultural landscape, where female empowerment is increasingly recognised as essential for societal progress (Omojola & Morah, 2013). This is amplified explicitly in Lionheart , where Adaeze takes charge of her father’s company following her dad’s ill health. Visual symbols, such as modern attire and assertive body language like gestures, further reinforce these evolving representations, making them more relatable to contemporary audiences.

Moreover, this finding suggests that the portrayal of girl children in Nollywood films has the potential to influence future leadership models. By showcasing diverse and empowered female characters, these films ( Lionheart, The Wedding Party  and Ije ) challenge traditional notions of leadership and inspire young viewers to envision themselves in leadership roles. It aligns with the DGMTT framework, which emphasises the role of digital media in shaping future narratives and identities while examining how images of women, sounds, colours, and editing techniques in these films can be interpreted as signs that communicate ideas and emotions as embodied by tenets of semiology.

EVALUATION OF CONTEMPORARY PORTRAYAL PATTERNS OF THE GIRL CHILD

Contemporary Nollywood films present a more nuanced and dynamic portrayal of girl children, reflecting the ongoing evolution of societal attitudes toward female leadership. The analysis reveals that recent films often depict girl children as resilient, innovative, and capable of overcoming societal challenges. This positive representation serves as a counter-narrative to earlier portrayals and aligns with the global discourse on gender equality and female empowerment (Oboko & Morah, 2013; Doghudje, 2019; Osakpolor, 2021)). The findings indicate a greater emphasis on individuality and self-actualisation characterises contemporary representations of girl children. Characters are often shown pursuing their dreams, challenging societal norms, and exhibiting leadership qualities such as confidence and determination.

Similarly, The Wedding Party tells the story of Dunni and Wale, a multicultural couple getting married in a grandiose ceremony in Lagos, Nigeria. Highlighting the dynamics between the two families, the film captures funny tensions because Sola Sobowale's character, Dunni's mother, becomes overly attached to the wedding to show off her societal position. The film portrays family dynamics, class disparities, and cultural customs.  This shift in portrayal reflects changing societal values and is a powerful tool for inspiring the next generation of female leaders.

Therefore, it is evident that the accessibility of Nollywood films through digital media allows for a wider audience reach, enabling young viewers to engage with empowering stories of girl children. This assertion is inevitable considering the adoption of Nnaji’s Lionheart by Netflix, which makes it more accessible to the global audience, whereas Living in Bondage was circulated via video cassette – VHS. The interactive nature of digital media also encourages dialogue around gender issues, fostering a culture of inclusivity and empowerment.

DISCUSSION OF FINDINGS

The findings of the analysis revealed that Nollywood films produced in the 1990s, such as Living in Bondage  (1992), predominantly portrayed girl children as victims or in need of rescue, reflecting societal norms of the time. It corroborates with the findings of Okunna (1996) that patriarchal practices against women, poverty, illiteracy, religion, cultural prejudices, and male chauvinistic tendencies were just a few of the powerful forces that push women to the side. The semiology of f ilms produced in the 2000s, like Ije (2018)and Lionheart (2018) , discovered the emergence of more complex characters, themes of education and ambition for the girl child towards self-realisation. 

The producer of Lionheart , Genevieve Nnaji exemplifies this by portraying a character made entirely of appropriate pixels. It is the kind of role that Genevieve accepts these days, and it demonstrates the  representational dynamics of the girl child in recent Nollywood films. This finding aligns with the result of Osakpolor (2021), who investigated the portrayal of women in contemporary Nollywood films, using Isoken (2017) and King of Boys (2018) as case studies, and found that Nollywood movies had improved on the issues of gender stereotypes and sexism which were hitherto prevalent in the industry. In the 2010s, films like The Wedding Party (2016) and Lionheart (2019) portrayed the narratives of girl children to be more robust representations as a leader and influencers; such narratives focus on independence and self-actualisation as shown in the literature (Nwankwo, 2023). This result aligns with the findings of Doghudje (2019), who discovered that Lionheart successfully enhanced womanhood and portrayed her aspirations, strength, and capacity as a business leader and role model.

Findings of the analysis of the representational dynamics of girl child in Nollywood films further identified semiotic codes such as cultural codes, colour codes, and symbolic codes, as seen in Living in Bondage,  where the costumes represent the status of women at the time. The cultural codes identified in the movies studied include traditional attire versus modern clothing to signify changing roles in time and history. The colour codes found in the study include the use of bright colours associated with youth and vitality, contrasting with darker tones representing struggle, widowhood and mourning. Such code is more prominent in The Wedding Party (2016), where Dunni and Wale, a couple from different backgrounds, are seen in an extravagant wedding ceremony in Lagos. The symbolic actions identified include instances of the girl child taking charge or making decisions as a shift in representation of assigned roles, as demonstrated in Lionheart.  The evolving portrayal of the girl child in Nollywood films reflects broader societal changes and the potential for future leaders. Positive representation can inspire young girls and alter perceptions of female leadership in Nigeria and beyond. 

The integration of DGMTT and semiotic theories provides robust frameworks for understanding the implications of these representations on perceptions of female leadership across different periods and, thus, contributes to knowledge. As Nollywood continues to evolve, the ongoing representation of girl children as empowered leaders will play a crucial role in shaping societal attitudes and inspiring future generations.

CONCLUSION AND RECOMMENDATIONS

The findings of the semiotic analysis of Nollywood films have shown that there are significant shifts in the representation of the girl child, with implications for leadership and gender equality. Nollywood films serve as a cultural mirror and a tool for social change, influencing societal norms and expectations regarding gender roles. Continued exploration of these dynamics is essential for fostering an environment that encourages and supports future female leaders.

The study suggests that further research on the impact of Nollywood films on societal attitudes towards the girl child and leadership roles should be encouraged. It also recommends collaboration with Nollywood filmmakers to promote positive representations of girls and women in future productions. A critical reevaluation of film narratives and a comparative analysis of girl child representation in Nollywood compared to other industries can highlight unique cultural narratives and common themes. The researchers also recommend developing educational outreach programs or workshops using Nollywood films as case studies to discuss gender representation and its implications among young audiences.

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Gender Representation in Nigerian Cinema: Analysis of Female Actress in Nollywood Films Lionheart, Muna  and King of Boys 

Doris Ngozi Morah, PhD - Madonna University Nigeria, Anambra State.
https://orcid.org/0000-0002-7854-3238
Email: morahng@yahoo.com 

George Nathan- Heritage Polytechnic, Eket, Akwa Ibom State.
Email: georgenat665@gmail.com 

INTRODUCTION

There is no doubt that film has an advantage over other forms of mass communication because of its visual aids, which facilitate easy comprehension, retention, opinion formation, behaviour modification, and education and entertainment. This is especially true when promoting a people's culture, tradition, language, norms, and values, to name a few. Numerous academics have documented films and movies' diverse roles and attributes in modern culture. Ibrahim (2013) asserts that film is a potent medium for communicating significant concepts, standards, and values to individuals worldwide. Moreover, researchers concur that movies can instruct, brainwash, establish beliefs, model behaviour, and portray religion, culture, and ideologies (Perkins, 2000; Ibrahim, 2013;  Uzuegbunam & Ononiwu, 2018). Films have also been popular for storytelling and entertainment, significantly impacting societal attitudes and perceptions about various issues. 

Nollywood, the Nigerian film industry, remains the largest film industry in Africa, producing about 2,500 films per year (Okoh, 2019). The industry is known for its popularity and influence in Nigeria and Africa. In Adeyemi, Adoye and Oyetola (2020, p. 171) words, "Nigeria's film industry has grown significantly in the last few decades. With an annual output of over 2,500 films, Nollywood has become one of the world's largest and most influential film industries". While the industry has gained international recognition and praise for its storytelling and overall impact, there have been concerns about gender representation in Nollywood films. Studies have shown that Nollywood films often portray gender roles and representations that perpetuate patriarchal norms in Nigerian society (Olufemi, 2017; Jegede & Mmereole, 2019).

Gender representation in the film refers to how men and women are portrayed in movies, particularly regarding their societal roles, behaviours, and attributes. Previous studies have highlighted the unequal representation of gender in Nigerian films, with female characters often depicted as passive, secondary, and lacking agency (Ogunyemi & Ayakoroma, 2014). This depiction reinforces gender stereotypes and reinforces the societal view of women as inferior and subordinate to men (Okoye, 2014). Gender representation in film is an essential area of study in media studies. Feminist film theory has demonstrated the power of media in constructing representations of gender that affect social perceptions of men and women. 

Thus, critical analysis of film content can serve as a tool to reveal how gender identities and power relations are constructed and maintained in society (Jhally & Lewis, 1992). However, there has been a push for more nuanced and empowering representations of women in Nollywood films in recent years. There has been a rise in feminist and LGBTQ+ films that challenge traditional gender norms and representations. These Nollywood films provide alternative perspectives and a more diverse portrayal of gender roles and relationships (Gill & Herdieckerhoff, 2006; Barkawi, 2019).

Interestingly, in Nollywood, gender representations have been the subject of critical analysis. Previous studies have highlighted the unequal representation of gender in Nollywood films, with female characters often depicted as subservient, emotional, and lacking agency (Okoh, 2019; Olufemi, 2017; Lipovsky & Průcha, 2021). However, there has been a growing trend towards more positive and empowering depictions of female characters in contemporary Nollywood films. This is so because Nollywood films have a significant impact on societal perceptions and beliefs about gender and gender roles in Nigeria and Africa, even beyond. More positive and diverse representations of gender in film can challenge and change societal attitudes about gender equity and expectations.

Meanwhile, the Nollywood industry has a significant impact on the country's cultural and social values, including its representation of gender in movies. There has been criticism about the portrayal of gender roles in Nollywood films, especially regarding female characters. As earlier mentioned, past studies revealed the unequal representation of gender roles and the stereotypical portrayal of women in Nollywood films (Okoye, 2014; Jegede & Mmereole, 2019; Gill & Herdieckerhoff, 2006). This portrayal reinforces traditional gender roles and establishes women as inferior and subordinate to men, which can further discourage gender equality and the empowerment of women. As such, there has been a growing trend towards more positive and empowering representations of female characters in contemporary Nollywood films. For instance, in the past few years, some Nollywood films have challenged and subverted traditional gender roles. They have portrayed women as active, powerful, and independent characters who can succeed on their terms and contribute to national development. These new depictions of strong women reinforce feminist ideals and challenge gender stereotypes prevalent in Nigerian society (Okunna & Morah, 2023; Oboko & Morah, 2013).

For instance, the movie " October 1 ," produced in 2014 and directed by Kunle Afolayan, exposes the patriarchal attitudes and stereotypes prevalent in Nigeria during the pre-independence era. It offers a nuanced portrayal of gender roles and relationships and challenges stereotypical representations of women. In the movie, Kunle Afolayan examines the challenges faced by women in a patriarchal society. Some of the female characters in the film may have been portrayed negatively. However, it is essential to note that many of the male characters in the film were also portrayed negatively and engaged in violent or oppressive behaviour towards women. For instance, the character of Ronke, the female love interest of one of the main characters, is initially presented as a helpless victim. However, as the film progresses, we see that she is a capable and independent woman who can protect herself and make her own decisions.

Similarly, the character of Agnes, who works as a nurse, is instrumental in solving the film's central mystery. She challenges the stereotype of the passive, submissive woman and is shown to be intelligent, resourceful, and brave. However, " October 1 " offers a nuanced portrayal of gender roles and relationships. While some female characters may have negative portrayals, they are not the only representation of women in the film. The film provides a complex and multifaceted exploration of gender dynamics in a society grappling with identity, power, and independence issues.

The movie " The Meeting " is another clear example. The movie explores a female corporate executive's challenges as she tries to balance her personal life and career while also dealing with gendered power dynamics in the workplace. The movie offers a nuanced portrayal of gender relationships, particularly in Nigerian society. In the film, women are portrayed as strong and competent individuals capable of succeeding in their careers. The main character, Clara Ikemba (played by Rita Dominic), is a successful corporate executive who is confident and assertive. Despite facing gendered power dynamics in the workplace, Clara perseveres and successfully achieves her goals.

However, in contrast to Clara's character, some male characters in the film were portrayed as overbearing and dismissive towards their female colleagues. However, these negative portrayals of male characters are not exclusive to gender; the movie also depicts male characters who are empathetic, supportive, and respectful of women in the workplace. The film also acknowledges the challenges women face in balancing their family life and careers, as demonstrated through the character of Ada (played by Linda Ejiofor). This single mother works in the same company as Clara. Ada struggles to cope with the demands of her job and raising her daughter alone, highlighting the difficulties that many working mothers face. However, " The Meeting " positively portrays women as capable and confident individuals who can succeed in their careers while also acknowledging the systemic gendered power dynamics present in the workplace. The movie portrays women with nuance, highlighting their strengths and challenges, and offers a glimpse into the complexities of gender relationships in Nigerian society.

This study conducted a content analysis of three Nollywood films, “ Lionheart ”, “ Muna” , and King of Boys, to investigate representations of female characters in Nigerian films. The films were selected for analysis as they feature powerful female lead characters and have been widely viewed and discussed in Nigeria and beyond. The study explores questions such as: How are female characters represented in these films? What are the dominant themes and patterns of gender representation in the films? How do these representations reflect or challenge patriarchal norms in Nigerian society? 

STATEMENT OF THE PROBLEM

The Nigerian film industry, known as Nollywood, has risen globally in recent years. However, despite its success, there is a paucity of research on gender representation in Nollywood movies, particularly about female characters. Nollywood films have substantive effects on societal attitudes towards gender. Thus, it is essential to examine the portrayal of gender roles and relationships in Nollywood films. Thus, the researchers sought to ask: How are women represented in the Nollywood movies " Lionheart ," " Muna ," and " King of Boys "? Are they presented as complex and multi-dimensional characters, or are their roles reduced to stereotypes? Herein lies the thrust of this study.

OBJECTIVES OF THE STUDY

The objectives of the study are to: 

1. Identify the various roles played by female characters in the Nollywood films " Lionheart," "Muna,"  and "King of Boys."
2. Examine the portrayal of female characters in these films regarding their personality traits, ambitions, and desires.
3. Analyse the extent to which gender stereotypes are present in depicting female characters in the selected films.
4. Investigate the potential impact of these representations on the lives of Nigerian women and women globally.

RESEARCH QUESTIONS

The following research questions were raised to guide the study:

1. What are the various roles played by female characters in the Nollywood films " Lionheart," "Muna,"  and "King of Boys?"
2. How are female characters portrayed in these films in terms of their personality traits, ambitions, and desires?
3. To what extent do gender stereotypes feature in the depiction of female characters in " Lionheart," "Muna,"  and "King of Boys ?"
4. What are the potential impacts of the representation of female characters in these Nollywood films on the lives of Nigerian women and women globally?

GENDER REPRESENTATIONS IN NIGERIAN CINEMA

Gender representations in Nigerian cinema have been a subject of many debates. The representations of masculinity and femininity in Nollywood movies have impacted the way viewers perceive gender roles in society. Gender representations in Nigerian cinema have been complex and have varied over time. While some films reinforce traditional gender roles, others challenge them, creating a space for gender discourse in Nigerian society (Chilaka, 2017). In many Nigerian films, masculinity is often associated with strength, power, and dominance, while femininity is portrayed as submissive, emotional, and dependent on men. For instance, " Living in Bondage  and Breaking Free " presents the male protagonist as a powerful and wealthy businessman. In contrast, the female protagonist is portrayed as a helpless victim of his actions. This reinforces the societal norms that men are supposed to be the dominant gender.

Studies have shown that gender stereotypes influence viewers' understanding of their gender identities (Esan & Shittu, 2016; Oni, 2016; Obar, 2020). A research study conducted by Oyedemi and Oluduro (2017) found that the portrayal of males as aggressive and violent in Nollywood movies can lead to audiences believing that this behaviour is acceptable or normal. However, there has been a shift towards more diverse representations of gender roles in Nigerian cinema. In recent years, there has been an increase in films that challenge traditional gender roles and break gender stereotypes. For instance, the movie "Fifty" explores the lives of four successful women who challenge societal expectations by pursuing their careers and relationships on their terms (Adegoke, 2015).

Another concern in promoting more diverse representations of gender roles is the effect on the viewers. Researchers have argued that the media, including Nollywood, plays a crucial role in shaping people's perceptions about their identities, including gender (Kilbourne, 2016; Chappell, 2017; Owen, 2019; Okoh, 2019; Badire, 2019; Moolla, 2020; Morah & Uzochukwu, 2020). Therefore, the film industry must take responsibility for its gender representation as it shapes viewers' attitudes, values, and beliefs towards gender roles in society (Adegoke, 2015). This is essential in influencing a positive change towards a more gender-equal society. One way filmmakers in Nigeria have tried to promote representation and diversity in gender roles is through the #MeToo movement. This movement, which began in 2017 in Hollywood, gained momentum worldwide, including in Nigeria. Nnabuko (2019) argues that the movement has sparked a dialogue on sexual harassment in the workplace, which, in turn, has led filmmakers to question the representation of women in some Nollywood movies.

However, gender representations in Nigerian cinema reflect the complexities inherent in Nigerian society and culture. While there may be a rise in diversity in gender role representation, there is a need for more consistent and intentional representation of women in particular (Jolaoso, 2019). Nollywood must be proactive in its attempts to represent gender equality positively in its movies. Filmmakers should be responsible and accountable for their portrayal of gender roles in the media to effect a positive change in society.

OVERVIEW OF THE MOVIE “LIONHEART”

Lionheart is a 2018 Nigerian movie directed by and starring Genevieve Nnaji. The movie tells the story of Adaeze, a young woman forced to take over her father's struggling bus transport company, Lionheart Transport after her father falls ill. Adaeze encounters resistance from her uncle, who feels he should have been chosen to run the family business since it has always been a man's job in their culture. Adaeze then partners with an expatriate consultant named Danie, and together, they try to save Lionheart Transport from collapsing under colossal debt and falling into the hands of their competitors.

The movie highlights various themes, including family dynamics, gender roles, cultural and societal norms, leadership, and the struggles of women in a male-dominated industry. Through Adaeze's story, the movie explores women's obstacles in male-dominated industries and the cultural norms that limit women's progress in Nigeria. Adaeze has to work twice as hard as her male counterparts to prove herself as a capable leader, and she must also confront gender-based discrimination from her uncle and some of her colleagues.

Lionheart is a significant movie in Nigerian cinema as it is Nigeria's first Netflix original movie. The movie has received critical acclaim domestically and internationally, with many praising Genevieve Nnaji for her directorial debut. Lionheart was also selected to represent Nigeria at the 2019 Oscars in the Best International Feature Film category. However, the movie was disqualified from the category because English was the main language used in the film, which violated the Academy's rule that entries in the category must have a predominantly non-English dialogue track. Lionheart is an inspiring movie that shines a light on the struggles of Nigerian women in male-dominated industries and highlights the importance of women's leadership in Nigerian society. It showcases the challenges and opportunities for women in business and is an important voice in promoting gender equality in Nigeria and beyond.

OVERVIEW OF THE MOVIE “MUNA”

Muna is a 2019 Nigerian action/drama film directed by Kevin Nwankwor and produced by Tobe Ogunnaike. The film collaborates with Nigeria, the United States, and Canada and stars Adesua Etomi-Wellington as the lead character, Muna. Muna is a well-made and engaging film that sheds light on critical social issues while providing viewers with a thrilling and entertaining experience. The movie's message of hope, perseverance, and the power of women to overcome adversity resonates with audiences and reinforces the importance of promoting gender equality and social justice.

It tells the story of a young Nigerian woman who is abducted and sent to work as a child soldier in a foreign land. Muna eventually escapes and becomes a skilled assassin, using her training to seek revenge against those who wronged her and her family. The movie explores several themes, including the consequences of war, the exploitation of children in armed conflicts, human trafficking, and the power of the human spirit to overcome adversity. The movie also highlights the role of women in combat and their ability to become leaders and agents of change in their communities.

Adesua Etomi-Wellington delivers a powerful performance as Muna , depicting the character's emotional and physical struggles as she fights to reclaim her life and seek justice. The film's other cast members, including late Onyeka Onwenu, Adam Huss, and Robert Miano, also deliver strong performances. The movie features thrilling and intense action sequences that showcase Muna's combat skills and determination to succeed in her quest for revenge. The film's fight choreography and special effects give viewers a compelling visual experience that keeps them engaged throughout the movie. Muna was shot in various locations across Nigeria, the United States, and Canada, producing stunning visuals that capture the diverse landscapes and cultures of these countries and showcase the beauty of Africa.

Interestingly, Muna is an action-packed movie and a story that advocates for the rights of women, children, and people living in conflict-affected areas. The movie powerfully addresses the issue of human trafficking and the exploitation of children in armed conflicts, which is a significant problem in Nigeria and many other African countries. The film highlights how such practices can rob young people of their childhoods and leave them traumatised and scarred for life. The movie is also a celebration of African culture and heritage. The film's director and producers try to showcase Nigerian traditions, from its cuisine to music and dance. The scenes set in Nigeria give viewers a glimpse of the country's rich culture and diverse landscapes, from the bustling city of Lagos to the serene countryside.

The film's soundtrack also features Nigerian musicians such as Waje, Banky W, and Falz, who add a local flavour to the soundtrack and reflect the growing influence of Nigerian music on the global stage. Muna has received critical acclaim from audiences and critics alike. The movie premiered at the Toronto International Film Festival in 2019 and won several awards at other film festivals. Adesua Etomi-Wellington's performance as Muna has also been praised, with many hailing her as one of Nigeria's best actresses. As a movie transcending borders and cultures, Muna has become an essential addition to African cinema, bringing Nigerian and African stories to a broader audience. The film inspires viewers to take action against the injustices faced by marginalised communities, particularly women and children, in conflict zones. The movie is groundbreaking and impactful, delving into essential themes such as human trafficking, child soldiers, and the power of determination. It is an exciting and thrilling film that showcases the best of African cinema while advocating for social justice, gender equality, and the empowerment of women.

OVERVIEW OF THE MOVIE “KING OF BOYS”

King of Boys is a must-see movie that offers a glimpse into the gritty and corrupt world of Nigerian politics and the criminal underworld. It is a well-made thriller that combines excellent performances with stunning visuals, music, and storytelling. The movie is a 2018 Nigerian political thriller film directed by Kemi Adetiba. Kemi Adetiba produced the film, starring several top Nollywood actors, including Sola Sobowale, Adesua Etomi, and Reminisce. The film tells the story of Eniola Salami, an influential businesswoman and political figure known as the " King of Boys," who rises to power amid a web of corruption and violence. The movie is set in Lagos and spans several decades, from the 1970s to now. It delves into the corrupt and often violent world of Nigerian politics and the criminal underworld, where power and wealth come at a hefty price. The film's complex narrative weaves together greed, ambition, loyalty, betrayal, and revenge themes. The main character, Eniola Salami, is portrayed by Sola Sobowale, a veteran actress in Nollywood. She executes the role of a ruthless and cunning woman who will stop at nothing to maintain her position of power.

Adesua Etomi, who plays Kemi Salami, the daughter of Eniola, also delivers a standout performance as a young woman struggling to find her place in a world of male dominance and violence. Other actors, such as Reminisce, Luciayetunde Gbosoye, and iLLBliss, also deliver strong performances that bring the characters to life. The movie has stunning cinematography, with visually striking shots of Lagos, its bustling streets, and several action scenes that keep audiences on the edge of their seats. The soundtrack is equally impressive, featuring traditional and modern Nigerian music that adds to the film's atmosphere.

King of Boys became one of the highest-grossing Nigerian films ever, breaking box office records and receiving critical acclaim from audiences and critics. The film's success has also sparked discussions on the need for more films that address political corruption and the criminal underworld in Nigerian cinema. In addition to its captivating storyline, the King of Boys addresses important social issues plaguing Nigeria for decades. The film highlights the need for good governance, accountability, and transparency in public and private sectors. It also sheds light on the growing issue of political violence and the negative impact it has on Nigeria's democracy. Furthermore, the film challenges gender stereotypes by portraying women as strong and capable leaders in the often male-dominated world of politics and business. Eniola Salami, the protagonist, is an emblem of women's empowerment and leadership.

King of Boys also showcases the diversity of Nigerian culture, depicting the people and music of Lagos in all their vibrancy and complexity. The film celebrates Nigeria's rich heritage and affirms the country's position as a significant player in the global film industry. The movie, however, deserves to be applauded for its stellar cast, outstanding cinematography, and powerful storytelling. The film delves into relevant social issues, shatters gender stereotypes, and celebrates Nigerian culture. King of Boys is undoubtedly a masterpiece in Nigerian cinema, and it is no wonder that it received numerous awards and nominations both within and outside the continent.

METHODOLOGY

This paper employed a qualitative content analysis approach. Qualitative content analysis is a systematic and objective method of analysing media messages, which involves coding and interpreting data to identify patterns and themes (Elo & Kyngas, 2007). This approach aims to develop empirical knowledge about media content and its effects on society (Obasi, 2013). This study, however, employed qualitative content analysis to analyse the content of the select movies without explicitly extracting data from participants.

The movies analysed in this study are Lionheart, Muna  and King of Boys , which were chosen due to their popularity and relevance to gender representation in Nigerian cinema. This study's population comprised 208 scenes in the three select films.

1. King of Boys - 90
2. Muna - 65
3. Lionheart - 53

However, the purposive sampling technique was adopted in the selection of only 82 scenes that prominently featured female characters in the movies. The characters include:

This study's content categories comprised all the scenes, actions, dialogues, narratives, texts, subtitles, themes, and conflicts in the film that suggest the representations of Gender. The unit of analysis was individual scenes in the movie, and each scene was analysed for the following aspects:

1. Character traits and personality : The study examined the personality characteristics attributed to female characters in each movie. Traits such as strength, intelligence, empathy, and assertiveness were analysed to determine how female characters were portrayed in Nigerian cinema.
2. Appearance and clothing : This study also explored how female characters were portrayed through physical attributes, such as appearance and clothing. The study evaluated if the movie reinforces or subverts traditional gender roles and beauty standards.
3. Dialogue and interactions : The analysis of female characters in each movie also considered their dialogue and interactions with other characters. The study examined how female characters interact with male characters in the movies and how they interact with women.
4. Role in the plot : The study considered the contribution of female characters to the plot and how it aligned with their representation in the movie. This will explore how female characters contributed to conflict resolution and decision-making as central characters in the movie's plot.

FINDINGS AND DISCUSSIONS

The data for this study were collected using a coding sheet developed based on the research questions. The coding sheet was used to record and analyse relevant data. The data collected was analysed using both quantitative and qualitative data analysis techniques. The coding parameters for the analysis of the three movies in this study are as follows:

1. Movie Title : The name of the movie being analysed.
2. Scene Number : This is the number given to each scene in the movie.
3. Female Character Name : The name of the female character(s) prominently featured in the scene.
4. Personality Traits : The personality traits attributed to the female character(s) in the scene (e.g., strength, intelligence, empathy, assertiveness).
5. Appearance and Clothing : The physical attributes and attire of the scene's female character(s) and how they align or subvert traditional gender roles and beauty standards.
6. Dialogue and Interactions: The nature of the conversation(s) between the female character(s) and other characters in the scene and how female characters are represented in their interactions with male and female characters.
7. Role in the Plot: The contribution of female character(s) to the movie's plot, including their actions in conflict resolution and decision-making, as the central character in the plot.
8. Gender Stereotypes: The presence of gender stereotypes in depicting female characters in the scene.

The analysis of the selected films reveals that female characters play various roles in each movie. In Lionheart , the main character, Adaeze Obiagu, leads her family's transport company. In Muna , the protagonist, Muna, fights against human trafficking and rescues other women. In King of Boys , Eniola Salami is portrayed as a powerful antagonist fighting for power and control of the underworld. Other female characters in the movies also play supporting roles such as family members, employees, and love interests to male characters. Overall, the female characters are depicted as having agency and contributing to the plot of the movies.

The findings above corroborate Nwabueze and Okoroafor's thoughts (2017, p.12). According to them, the representation of female characters in Nigerian cinema has evolved over the years, with more roles written for women that go beyond the traditional roles of wife, mother, and helper. The authors note that female characters are now portrayed as leaders, entrepreneurs, and heroines who drive the plot of the movies. This supports the finding that female characters play various roles in the selected films.

In their study of gender representations in African cinema, Ogunleye and Akinduro (2021) found that female characters in Nigerian films have agency, are active participants in the plot, and are represented as complex and multidimensional. The authors note that female characters in African cinema can challenge gender norms and stereotypes. This perspective aligns with the finding that female characters in the selected films have agency and contribute to the plot of the movies. Also, in a study of Nollywood films, Siyanbola, Adesina, and Olugbenga (2019) found that female characters were portrayed as strong, intelligent, and determined, able to challenge various patriarchal structures. The authors note that this portrayal of female characters could inspire and empower women viewers. This perspective supports the finding that female characters in the selected films play empowering roles and challenge traditional gender roles. 

Female characters are portrayed with various personality traits, ambitions, and desires. Regarding personality traits, female characters are portrayed as confident, assertive, brave, intelligent, resilient, and ruthless. Adaeze Obiagu displays these traits in Lionheart , Muna in Muna , and Eniola Salami in King of Boys . In terms of ambitions and desires, female characters in the selected films are shown to have goals and aspirations that go beyond traditional gender roles. Adaeze Obiagu desires to save her family business from falling apart and take over as the company's CEO. Muna fights against human trafficking and desires to rescue and rehabilitate victims of the scourge. Eniola Salami aspires to be the queen of the criminal underworld and does everything within her power to achieve this end. Their relationships with men do not solely define female characters in the selected films but have their desires, dreams, and agency. They challenge gender norms by taking on leadership positions, displaying intelligence, and actively pursuing their goals.

The selected films portray female characters as multidimensional and complex, with agency and aspirations. The films depict women as capable of achieving greatness and defying gender stereotypes. In their study of representations of gender and power in Nollywood films, Okome and Jerry-Emmanuel (2018) note that modern Nollywood films feature ambitious, independent, and strong-willed women. The authors argue that these depictions challenge traditional patriarchal norms. This perspective supports the finding that female characters in the selected films have aspirations and agency. In their study of gender representation in Nollywood films, Anyanwu and Ukelina (2020) found that female characters are portrayed as possessing traits such as courage, intelligence, and resilience. The authors note that these portrayals can challenge gender stereotypes and empower women. This aligns with the finding that female characters in the selected films are portrayed with various personality traits.

In their analysis of female labour in Nollywood films, Decker and Kirwan (2017) argue that female characters are often shown to challenge societal expectations of gender roles. The authors note that, in some cases, these portrayals depict women as breadwinners and entrepreneurs. This perspective supports the finding that female characters in the selected films challenge gender norms by taking on leadership positions. Kilomba, Mbembe, and Roque (2020) argue that female characters are often portrayed as multifaceted and complex. The authors note that these portrayals challenge stereotypes and patriarchy. This perspective aligns with the finding that female characters in the selected films are multidimensional and not solely defined by their relationships with men. Alimi (2021) argues that women are often shown to be ambitious and motivated to succeed. The author notes that these portrayals can inspire and empower women viewers. This supports the finding that female characters in the selected films have ambitions and desires beyond traditional gender roles.

Gender stereotypes are deeply ingrained in society, and media, including films, often reinforce these stereotypes. This research question explores how gender stereotypes feature in depicting female characters in Lionheart, Muna,  and King of Boys . An initial analysis of the selected films reveals that gender stereotypes vary in portraying female characters. Specifically, the films often depict women in traditional gender roles, such as caregivers, secretaries, and homemakers, reinforcing the idea that women are inferior to men and should be in subordinate positions. For instance, in " Lionheart ," Adaeze Obiagu is expected to take care of her father after he falls ill, and in " Muna ," the female lead character is initially portrayed as a caregiver for her adoptive family. Although both characters later assume leadership positions, their initial portrayals align with traditional gender stereotypes.

In " King of Boys ," gender stereotypes are more prevalent. Female characters are often shown in supporting roles, such as secretaries, wives, and girlfriends, while male characters take on leadership positions in politics and business. The film also perpetuates the stereotype that women use their bodies to achieve success or manipulate men. That is exemplified by the character of Eniola Salami, who leverages her sexuality to gain power and influence over men. However, it is worth noting that while gender stereotypes do feature in the films, some female characters challenge these stereotypes and take on non-traditional roles. For example, Adaeze Obiagu's desire to take over her family business in " Lionheart ," and Muna's fight against human trafficking in " Muna " go beyond traditional gender roles.

Meanwhile, while gender stereotypes are present in the selected films, some female characters challenge these stereotypes, taking on leadership positions and displaying courage, intelligence, and resilience. However, the films also perpetuate some harmful stereotypes about women's roles and capabilities in society. The findings of Adedokun and Ajomale (2020) support this finding. They found that female characters are often portrayed in domestic and supportive roles, while male characters assume leadership positions. The authors argue that these gender stereotypes perpetuate traditional gender roles and reinforce gender inequality. In her analysis of gender roles in " King of Boys ", Onyekachi (2020) found that the film reinforces gender stereotypes, as female characters are depicted as passive and subservient, while male characters dominate the narrative. The author argues that this reinforces patriarchal norms and reinforces gender-based discrimination. In their study of the construction of masculinity and femininity in Nigerian films, Olubomehin and Iwara (2018) argue that Nollywood films often reinforce gender stereotypes, particularly in portraying women. The authors note that female characters are often associated with domesticity and emotional labour, while male characters are shown as dominant and aggressive.

Ndiogou Fall (2019) argues that gender stereotypes are ubiquitous in African cinema, although there are some instances where female characters occupy non-traditional roles. The author notes that while there is progress, much work remains to challenge gender stereotypes and promote gender equity in African cinema. Also, Akinsola and Mabawonku (2018) argue that while some Nigerian films challenge gender stereotypes, many continue to perpetuate them. The authors note that female characters are often portrayed as passive, dependent, and subservient, reinforcing traditional gender roles.

The representation of female characters in Nollywood films has significantly impacted the lives of Nigerian women and women globally. The potential impacts include the reinforcement of gender stereotypes, body image and self-esteem, limiting career aspirations, social and community relations and influence on gender-based violence. Lauzen, Dozier, and Horan (2017) note that media, including films, can reinforce gender stereotypes, which can lead to the marginalisation and discrimination of women. The representations of women in Nollywood films that perpetuate gender stereotypes can negatively impact the lives of Nigerian women and women globally as it reinforces traditional gender roles in society. Representing women's bodies in media has impacted their image and self-esteem (Grabe et al., 2014). In Nollywood films, female characters are often portrayed in ways that prioritise physical appearance over other qualities, such as intelligence or leadership skills. These representations can lead to women feeling pressure to conform to unrealistic beauty standards, leading to negative effects on their self-esteem.

On limiting career aspirations, Nollywood films often depict women in traditional and subservient roles, such as homemakers or caregivers. It can potentially limit young girls and women's career aspirations, as they are not exposed to the variety of professional options available or assume that such options are inappropriate for women (Byrom, 2016). Also, representations of female characters in Nollywood films can impact social and community relations. According to Martin, Ward, Ameen, and Nadiawala (2016, p. 40), media significantly impacts behaviours, creating gender roles, stereotypes, and limitations for both men and women. n influence on gender-based violence, unfair representations of women in films relating to gender-based violence could increase gendered violence cases, as it can promote gender discrimination and normalise the subjective narrative of gender-based violence. 

Progressively, the portrayal of women in Nollywood films can discourage women from participating in politics. According to Okoro, Amadi and Onyinye (2019), Nollywood films often depict women as unelectable because of their gender, promoting the notion that politics is strictly a male domain. Also, Nollywood films can be used to promote education and empower women. A study by Akinwumi (2016) shows that Nollywood films can be used to foster "gender consciousness" and encourage women and girls to pursue education and personal development.

Significantly, the representation of female characters in Nollywood films can impact the perception of women's role in the family. The popular portrayal of women in a domestic light in Nollywood films may affect how women are perceived in family roles. Omen may feel responsible for assuming domestic duties like cooking and cleaning instead of pursuing other interests or participating actively in decision-making. Interestingly, female characters in Nollywood films can be positive role models for young girls and women and help change societal attitudes towards women. Positive female characters in Nollywood films can promote gender equality, challenge gender stereotypes, and inspire young girls and women to pursue their dreams, irrespective of gender (Obasi, 2019).

Nollywood films can significantly impact women's lives across Nigeria and the globe. Positive representations of women in films can help promote gender equality, while negative representations can reinforce gender stereotypes and limit women's potential. It is essential that filmmakers and industry stakeholders ensure that female characters are presented in an empowering and positive light to have a more positive impact on women's lives. 

CONCLUSION

This study examined the representation of female characters in Nollywood films and its potential impacts on the lives of Nigerian women and women globally. We conducted a comprehensive literature review and analysed data collected from content analyses of selected Nollywood films. The analysis revealed that Nollywood films often perpetuate gender stereotypes and limit women's potential by presenting them as submissive and dependent on men. The popular image of women in a domestic light in Nollywood films can lead to women feeling pressure to assume domestic responsibilities at the expense of pursuing other interests or participating in decision-making. The portrayal of women as passive and dependent can reinforce traditional gender roles in society, preventing women from achieving equality.

However, our study also highlights the potential of Nollywood films to promote gender equality and empower women. Positive representations of female characters in Nollywood films can serve as positive role models for young girls and women and inspire them to pursue their dreams irrespective of gender. These representations can promote gender equality and challenge gender stereotypes. Education and empowerment were identified as tools that can be employed through films like Nollywood.

The study highlights the crucial role that the media, including Nollywood films, can play in shaping societal attitudes towards women and promoting gender equality. It is, therefore, important for filmmakers and industry stakeholders to ensure that female characters are empowering and positively represented in Nollywood films to have a more favourable impact on the lives of girls and women. There needs to be a concerted effort towards promoting feminist ideology in the industry to ensure that all genders are treated equally. Therefore, concerted efforts from policymakers to film industries must recognise the need to promote a gender-balanced representation in films that represents the full diversity of genders with respect and dignity. Policy measures should also be implemented to monitor and regulate social content to make Nollywood more inclusive and responsive to gender issues.

RECOMMENDATIONS

Based on the findings of this study, the following recommendations were made to improve the representation of female characters in Nollywood films and promote gender equality:

1. Filmmakers and Industry Stakeholders should ensure that female characters are positively represented in Nollywood films. Female characters should be presented in an empowering and positive light to foster gender equality, challenge gender stereotypes, and inspire young girls and women to pursue their dreams. 
2. There is a need to promote feminist ideology in the film industry, so policymakers and industry stakeholders should take a more proactive role in promoting gender equality and feminist ideology in the film industry. There is a need to promote a gender-balanced representation in films that represents the full diversity of genders with respect and dignity.
3. Regulators should monitor social content to make Nollywood more inclusive and responsive to gender issues. Regulators should develop and enforce standards to ensure that Nollywood content providers deliver balanced and diverse social content. Regulators should also establish measures to monitor social content regularly and ensure that those responsible for its creation know their responsibilities.
4. Education and empowerment programs should be developed and integrated into Nollywood films. Education and empowerment programs to promote gender consciousness should be integrated into the production of Nollywood films. These programs can help to foster a culture of gender equality and encourage women and girls to pursue education and personal development.
5. Cultural norms and traditions that perpetuate gender inequality should be challenged. Attitudes towards gender roles must be re-evaluated and challenged. It can be achieved through the promotion of feminist thought leaders, educational campaigns, and the incorporation of positive gender representation in Nollywood films. 

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