IJSSER

Title: NOLLYWOOD FILMS AND PROMOTION OF CULTURAL VALUES IN NIGERIA
Authors: Ewomazino Daniel Akpor, Josephine Omoruyi, Sam Okeoghene Uyeri
\|\| \|\|
1Ewomazino Daniel Akpor, PhD, 2 Josephine Omoruyi, 3Sam Okeoghene Uyeri 1,2. Igbinedion University Okada 3. Delta State Polytechnic Ozoro
MLA 8 Akpor, Ewomazino Daniel, et al. "NOLLYWOOD FILMS AND PROMOTION OF CULTURAL VALUES IN NIGERIA." Int. j. of Social Science and Economic Research, vol. 4, no. 1, Jan. 2019, pp. 402-424, ijsser.org/more2019.php?id=33. Accessed Jan. 2019. APA Akpor, Ewomazino Daniel, et al. "NOLLYWOOD FILMS AND PROMOTION OF CULTURAL VALUES IN NIGERIA." Int. j. of Social Science and Economic Research, vol. 4, no. 1, Jan. 2019, pp. 402-424, ijsser.org/more2019.php?id=33. Accessed Jan. 2019. Chicago Akpor, Ewomazino Daniel, et al. "NOLLYWOOD FILMS AND PROMOTION OF CULTURAL VALUES IN NIGERIA." Int. j. of Social Science and Economic Research, vol. 4, no. 1, Jan. 2019, pp. 402-424, ijsser.org/more2019.php?id=33. Accessed Jan. 2019.
References [1]. Akinfeleye R. et'al (2008).contemporary issues in mass media for development and national security; Onitsha malt house press limited Lagos. [2]. Alfred E.Opubor and Onus E. Nwaeli (1979).the development and growth of the film industry in Nigeria; Lagos press international. [3]. Anaeto, S. G.; Onabajo, O. S.; and Osifeso, J. B. (2008).Models and Theories of Communication. Boston: African Renaissance Books Incorporated. [4]. Arulogun,A. (1979) 'The Role of the Film in Cultural Identity' in A. Opubor and O.E. Nwuneli (eds) The Development and Growth of the Film Industrv in Nigeria. Lagos: National Council for Arts and Culture. [5]. Asemah, E. S. (2009). Principles and Practice of Mass Communication. Jos: Great Future. [6]. Asika N.(1991) research methodology in the behavioral sciences; Longman nig Plc. Benjamin A.Orewere(2007) the mass communicator and the audience; African center for communication and environment ;royal press limited. [7]. Billington, R.; Strawbridge, S.; Greensides, L.; and Fitzsimons, A. (1991).Culture and Society.A Sociology of culture. London: Macmillan Press Ltd. [8]. Bitnner, J. R. (1989) Mass Communication: An introduction. New Jersey: Prentice Hall, Inc. [9]. Ciboh, R. (2007) Mass Media in Nigeria. Perspectives on Growth and Development.Makurdi: Aboki Publishers. Daiton, M. and Zelley, E. D. (2005) Applying Communication Theory for Professional Life.A Practical Introduction. London: Sage Publications. [10]. Danbello, Ahmadu .I. and DakogolBala .J. (2015). The Role of Indigenous Films in Preserving Culture in Nigeria: An Appraisal of Nollywood Nollywood videos. International Conference on Communication, Media, Technology and Design 16 - 18 May 2015 Dubai - United Arab Emirates. [11]. Denga, D. (1988) De-Juvenilizing Secondary Schools in Nigeria through Behavioural Counseling Techniques "The Counselor" Journal of the Counseling Association of Nigeria Vol (1) 5. [12]. Ekeanyanwu N. (1998) International Communication; Issues, Concepts and Researches in the 21st Century. Akure Standard Mass Concept Company. [13]. Ekeanyanwu N. (2005) International Communication; Issues, Concepts and Researches in the 21st Century, Akure; Standard Mass Concept Company [14]. EkwaziHyginus (1987) film in Nigeria; Nigeria film cooperation Jos. McBride (Ed.) (1980) Many voices one world, Paris UNESCO [15]. Folarin, B. (1998) Theories of Mass Communication. Ibadan: Stirling Horden Publishers (Nig.) Ltd. [16]. Mgbejume O.(2008) television-video production; motion picture academy, Jos Nigeria [17]. Okenwa, S. A. (2000) The Mass Media. Uses and Regulations. Enugu: Bismark Publications. [18]. Opubor A., O. E. Nwuneli and O. Oreh (1979) 'The Status, Role and Future of the Film Industry in Nigeria' in A. [19]. Opubor and O.E. Nwuneli (eds.) The Development and Growth of the Film Industry in Nigeria. Lagos: National Council for Arts and Culture. [20]. Osa O. Edward and mercy sokomsaed (2006) beyond the screen; Nigerian film Cooperation Jos Osuagwu L. (1999) business research methods, principles and practice; grey resources limited. [21]. Salama.G. (1978) Nigerian television authority in a developing country; Nigerian Television Authority Jos. [22]. Sambe, J. A. (2008) Introduction to Mass Communication in Nigeria. Ibadan: Spectrum Books Limited. [23]. Schiller, H. (1973) Communication and Cultural dominations, White plains, NY: International Arts and Science Press. [24]. Timothy .O.(2002). Writing research projects, journals, articles, conference papers and documenting references accurately: Jos. [25]. Wilbur Schramm (1964). Media and national development: Stanford University Press, Stanford, California, Enesco, Paris. [26]. Yaroson ED.et al (2008). Theories and models of mass communication: great feature printing Jos. JOURNALS [27]. Adeiza, S. (1995) 'Genesis and Nemesis of Film Financing in Nigeria'. Film and Video, Vol. 3 No.1. [28]. Okoye, 1 (1993) 'Video in the Lives of Nigerian Children: Some Socio-Cultural Implications'. Africa Media Review, Vol. 7 No. 3. INTERNET [29]. Augustine UfuaEnahoro (2009). Discourse on women and the Nigerian home video, a villa of mysteries (UNIJOS inaugural [30]. lecture series 38). Internet Resources www.ngrguardiannews.com/...//indexn3-html www.oup.com/oald www.vanguardngr.com/2009/10/24 [31]. Azuh, M. (2011) Between Nollywood and the academia Retrieved from http://www.punchng.com/Maincat.aspx? thecat=NEWS [32]. Ekwuazi, H.The development of film industry in Nigeria.Assessed on 11/04/2017. Retrieved from http://www.nigfilmcorp.com/ [33]. Fall, Y. (1995) 'In the Beginning was Culture' UNESCO Sources No. 74, November. Retrieved from http://www.nigeria-planet.com/Nigerian-Movies.html [34]. HyginusEkwuazi. The development of film industry in Nigeria accessed on 14/04/2017. Retrieved fromhttp://www.nigfilmcorp.com/ [35]. Kofinas, G. 2005. A Research Plan for the Study of Rapid Change, Resilience and Vulnerability in Social-Ecological Systems of the Article The Common Property Digest, 73 (June) retrieved from http://www.nigeria-planet.com/Nigerian-Movies.html [36]. Mgbejume, O. (1989) Film in Nigeria. Nairobi: African Council on Communication Education. Assessed on 11/11/2016. Retrieved from http://www.nigeria-planet.com/Nigerian-Movies.html [37]. Neill, J. 2006. What is Cultural Resilience? Retried from www.wilderdom.com Nosa Owens-Ibie.How video films developed in Nigeriaassessed on 11/04/2017. Retrieved from http://www.nigeria- planet.com/Nigerian-Moviestml [38]. Sam Duru, P. (2013). "How to reposition Nollywood for Nigeria's cultural diplomacy. August 25, 2013. Retrieved: 26/02/2017. http://www.vanguardngr.com/2013/08/how-to-reposition-nollywood-for-nigerias-cultural-diplomacy-2/
Abstract: Culture occupies a strategic position in the development of any society. Societies and nations all over the world are always looking for ways to preserve their cultural value for future generation. On daily basics new cultural values evolves but the need to preserve the original culture from adulteration is paramount to nation. It is corollary from this that the work looks at whether Nollywood films bastardizing Nigerian indigenous cultural values or are they promoting them, whether the themes of Nollywood films portray Nigerian indigenous cultural values in true light or not and the role Nollywood possibly play in promoting Nigerian indigenous cultural values and thus advance Nigeria 's developmental agenda. Anchored on the cultivation and cultural norms theories the work concludes that Nigerian films started well by promoting our rich cultural heritage but somewhere along the line deviated to accommodate financial gains. This became prominent when the viewers of Nollywood videos increased drastically thereby giving rise to competition among film producers who were ready to pay heavily to get stories that would move and increase sales. The work recommends that the Nigerian films censors' commission should scrutinise films before they are sent out for viewing by the larger audience, script writers should always have at the back of their minds that Nigeria cultural heritage should be foremost on their minds when they are writing any script and that village heads should be contacted to get actual story lines that would reflect their culture.

IJSSER is Member of