Nollywood Films and Security Challenges in Nigeria: Analysis of Teco Benson’s War Front and Vincent Anointed’s Red Mafias

Author: Abunike Chibuike Macdonald
Department: Theartre Arts
Affiliation: Nnamdi Azikiwe University Awka

In a society like Nigeria where lots of societal problems such as armed robbery, poverty, advanced fee fraud, juvenile delinquency, murder, kidnapping, child and human trafficking and high level of illiteracy among others, are highly prevalent, there is an urgent need to seek solutions to these problems. Film as an indispensible work of art has remained a tool to mirror the ills in the society and present it before the audience for critical evaluation. The questions raised and answered in this work are, ‘Do the films produced by Nollywood profer solutions to these problems or are the problems just projected? Do Nollywood film producers really justify the essence of violence in their films? How does violence in films affect the viewers?’ This research work evaluates the impact of Nollywood films on the Nigerian society vis-a-vis the current security challenges facing the country. It contends that its establishment has helped greatly in developing talents, and serves as a medium of entertainment and communication. It
also highlights various critics that praised the ability of Nollywood industry in the past and expresses concern on the reverse focus on the negative themes and its negative impact on youths’ behaviour and the image of Nigeria society. The quantitative and qualitative methods of research formed the basis of this work. Quantitative method involved the empirical process of distribution and collation of questionnaire as primary source of information for the study. As a qualitative method, inferences were equally drawn from relevant books, academic journals, magazines to further validate the data analyzed. Questionnaire as an instrument was used during the research work. The research will therefore critically examine the Nollywood films and security challenges in Nigeria using War Front 1&2(2004) and Red Mafias 1&2(2014) as paradigms.

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