Suchergebnisse

Although Onions Edionwe's films, such as Echoes of a Kingdom, Arousa N'ohuan-ren, and Aisiokuoba, are notable documentaries, they represent an "insignificant" component of the total number of movies that have been made in the Benin or Edo language film section of the Nigerian film culture (Nollywood). A critical review of the Benin video culture indicates that a majority of the Benin film content creators tend to ignore the documentary genre. This article explores the reasons Benin filmmakers do not produce documentaries. Perhaps, what evidences the tendency is the observable preference of Benin filmmakers to make historical, musical, comic, or social movies because they fear that the audience might find documentary films uninteresting and distasteful. This is an unpleasant trend in spite of documentary film's potency as a narrative medium and its potentialities for developing the human-mind and society. It is against this background that I used a complementarity of the emic and etic approaches to canvass the need for Benin cineastes to increasingly turn their creative radars towards the documentary genre, which can be a powerful developer and re-enforcer of Benin socio-cultural practices in the age of globalisation. Towards this end, Benin filmmakers should be provided with requisite grants and/or production funds by relevant governmental organizations, nongovernmental organizations, and organised private groups from within and outside the Benin locality to make films in the documentary format.

Employing the historical-analytic methodology, this study focuses on the news agenda in the Nigerian media. It sues that there is the need for news reporting and coverage activities of Nigerian media professionals to be redefined in order for them to be able to effectively contribute to sustainable peace in Nigeria, which is a sine qua non for development. In this context, this study examines the crucial role the media have been playing/ought to be playing/should be playing in the sustenance of peace and the galvanization of sustainable development in Nigeria as a microcosm of Africa. It specifically posits that the culture of peace can ensure the security of lives and properties in the Nigerian society and the society, in turn, stands a greater chance of being economically, socially, politically as well as culturally developed, if the agents of development such as the media and their operators/professionals diligently and dispassionately carry out their responsibilities. Towards this end, the media in Nigeria, both print and broadcast are encouraged to engage in more interpretational and investigative reportage of issues for national development.

Indiscriminate bill-postings have become one of the nuisances threatening the 'health' and aesthetic credibility of the physical environment in post-colonial Nigerian society. Although the problem is a serious one, it is yet to receive attention from the academia and other concerned authorities in Nigeria. It is within this context that this study examines bill-postings as pervasive media culture, using Edo Central District (ECD) of Edo State, Nigeria as a case study. In doing this, it adopts an evaluative methodology. This is complemented by interviews and random photographic snapshots of posted-bills across the district under examination. This study finds out that the indiscriminately posted-bills are eyesores, which apart from not being aesthetically pleasing, exacerbate the environmental management challenge in the ECD. It also discovers that the problem is a multilayered one, judging from the different kinds of posters that are commonly posted by diverse groups in society. Consequently, this paper asserts that probing the sociological causes and implications of the menace could offer some insights on how to redress the situation. To this end, a number of suggestions are made, with a view to improving the condition of the physical environment in ECD.

O artigo que se inicia tem como objetivo examinar a atuação do Boko Haram (ou de seus subconjuntos/subgrupos). Pautado na análise de notícias capturaladas aleatoriamente dos meios de comunicação da Nigéria, busca-se oferecer sugestões sobre como os meios de comunicação e outros agentes de desenvolvimento podem ajudar a por um fim nos ataques desenvolvidos por este grupo. Feito isso, esperasse demonstrar que a mídia, em conjunto com outros agentes de desenvolvimento nigeriano, pode ser usada para verificar as atividades criminosas de insurgentes do Boko Haram na Nigéria, bem para estudar o modus vivendi e modus operanti deste grupo.

The Nigerian film industry, otherwise known as Nollywood, has been acknowledged to be the second-largest in the world in terms of volume of production. This fact presents an interesting vista worthy of investigation, especially with regard to the quality of the films produced. It is in respect of this premise that this article examines the plot of the Nigerian film—a feature capable of affecting the popularity of the film. The essay, having dwelt on what plot is, critically examines the Nigerian film plot and finds that Nollywood films mostly adopt an episodic structure, thereby making them unnecessarily long. Besides (and this is systemically related to episodic structure and to a natural tendency in Nigerian rhetoric), many of the films tend to be too wordy, too chatty, over-padded, thus often earning them scathing criticism. The challenges of scriptwriting in this regard are examined, culminating in recommendations for how to improve the quality of scripts through plot construction in this vibrant film culture.

The new media effectively plays the role of speedily conveying media content to various online communities, and this internet technology also allows for the storage and retrieval of content. The organizers of Big Brother Naija (BBN) appear to have leveraged this facility to interact with the audience of the reality show in the most profound manner in the Nigerian media ecosystem. Adopting John Locke's Empiricist Reflection Theory (ERT), the article uses quantitative and qualitative research methods to examine if coders (the new media audience) perceived the promotion of nudity, illicit sex, inordinate kisses, and vulgarity in the 2018 edition of the Big Brother Naija (BBN), codenamed "Double Wahala." A checklist of 72 internal consistency reliability was used to obtain the quantitative data while the data were analyzed using simple percentages and a pie chart. This was complemented by qualitative research modalities of historical-analytic and document observation methods. The study found that the participants and organizers have, for economic reasons, thrown caution on morality and values to the wind with the outcome of actual sexual intercourse among the participants amounting to 52% among other studied variables. The conclusion reached is that the organizers of the program should redesign it to promote wholesome entertainment, education, and enlightenment of the audience, especially the youth in Nigeria.

Abstract

Purpose
The mass media have continued to be significant news sources for human society, particularly during conflict and war. The media dependency theory posits that during crisis or instability, society relies more on traditional and new media to help it understand the developments in the war. This article investigated the frequency of the coverage of the Russia–Ukraine War by Sahara Reporters and Premium Times, ascertained the most dominant tone used by Sahara Reporters and Premium Times in the reporting of the Russian–Ukraine War, and unfurled the frame of coverage of Russian–Ukraine War by Sahara Reporters and Premium Times.


Theoretical and Methodical Considerations
Anchored in Robert Entman's Framing Theory, online publications of Sahara Reporters and Premium Times from March 2022 to September 2022 served as the population of the study and the census sampling technique was used to draw a sample for the study. The explanation-building model was the method of data analysis.


Findings
Results showed that Sahara Reporters and Premium Times reports on the 2022 Russian–Ukraine War were frequent. Also, they paid more attention to the impacts of the war on Nigerian emigrants or students overseas in Russia and Ukraine.


Implications
Our findings suggest that online newspapers mostly toned the Russian–Ukraine War in negative slants and framed the stories highlighting the impact of the war on Nigerians, especially Nigerian students in Russia and Ukraine.


Value
The article brings a new perspective to the Russian–Ukraine War in media scholarship by examining Nigeria's online news reporting of the Russian–Ukraine conflict. It is, therefore, recommended that Nigerian online newspapers not solely focus on negative reports of the war and its implications for stakeholders in Nigeria. They should adopt a more diverse range of frames and tones in their coverage, to influence stakeholders to take action to prevent wars and hold the Nigerian government accountable for providing adequate infrastructure and human capital that discourages emigration in search of a better life both academically and otherwise.

Socio-economic tastes of urban and rural reality television (Reality TV) viewers appear diverse and may account for divergent lifestyles, especially concerning media exposure. This article investigated comparatively the viewership levels of Reality TV shows by urban and rural dwellers in Rivers State, Nigeria, using Who Wants to be a Millionaire as a fulcrum of analysis and discussion. Relevant data were gathered from 387 respondents, using a questionnaire that was designed, validated, and randomly administered in Port Harcourt Local Government Area (PHALGA), Obio-Akpor Local Government Area (OBALGA), and Emuoha Local Government Area (EMULGA), which were purposively selected as PHALGA and OBALGA constituted the cosmopolitan areas while EMULGA was regarded as a rural setting in Rivers State of Nigeria. Using Motivational Theory and the Entertainment-Education (EE) concept, the article employed quantitative and qualitative methods to examine the perception of reality television (Reality TV) by urban and rural dwellers and the influence the programme has on them. Data generated were analyzed and revealed that there was a significant difference in urban and rural viewership patterns of reality television. The conclusion reached is that the programme was perceived positively as indicated by its broad-based audience and its very educational content.

Devastating flash floods and uncontrollable soil erosion, largely fallout of the effects of climate change, have been taking their toll on Nigeria's Federal Capital Territory (FCT), Abuja. Apart from disrupting the ecosystem, their overwhelming effects are felt in the agricultural sector as farmlands are washed away. The media are expected to enlighten the residents of FCT, Abuja, about the impact of climate change. They have to be aware of global warming and its effects. Hence, this article sought to determine the level of awareness about the existence of climate change discourse among the residents of the FCT, Abuja; to ascertain respondents' perception about the media creating enough awareness around climate change and how it exacerbates flooding, and to confirm if the press is mobilising residents enough on how to mitigate flooding. The study was anchored on Status Conferral and Media Development theories. A questionnaire and question guide served as instruments for data collection. Findings showed that the FCT residents' awareness level about climate change was generally low, whereas improvement on the awareness level will result in activities that reduce flash floods; they perceived the media as not creating adequate awareness about climate change and educating the populace enough on how to mitigate the flash flood problem. In their sensitisation exercises, the media should partner with relevant government agencies and traditional rulers to educate residents on safety issues, particularly human activities that tend to exacerbate flash floods in the area.

The art of music-making is a mental/creative activity. However, spiritual influence cannot be ruled out in the process of constructing music. The mental activity is akin to the deployment of the intellect, while the spiritual influence could be as a result of a direct encounter or impartation by a spirit being through dream/vision as typified by two Nigerian performing artists, Majek Fashek and Victor Uwaifo, who are the foci of this study. Exploring the concept of esotericism with emphasis on music performance, this article contends that although music-making is a mental/creative activity, spiritual or extra-mental influences supervene, with particular reference to the lives and performance careers of the two selected African musicians/media celebrities from Benin City in Nigeria. In doing this, it uses historical-analytic, key informant interview (KII), and direct observation methods to critically reflect on how the supernatural influences their music-making activities.

Communication has been identified as the underlying factor for human development whether at the socio-scientific, socio-economic or socio-political levels. Globally, development communication has increasingly become a critical component in the pursuit of scientific, economic, agricultural, social and political advancement of human societies. It is within this context that this study uses the historical-analytic, sociological and direct observation methods to appraise the neo-colonial and dualistic development models. In doing this, it highlights critical inferences on how development communication could be more beneficial to developing countries in Africa, specifically Nigeria, by way of communicating science and producing higher end products in the vital sectors of the economy. The conclusion reached is that through the dynamics of development communication the Nigerian populace can be mobilised and empowered to be productively creative in their contributions to Nigerias gross domestic product (GDP) and improve their living standard.