Framing Gender Issues in Selected Nollywood Narratives

Yıl 2024, Sayı: 3, 1 - 22, 08.07.2024

Osakue S. Omoera , Osakpolor Emwinromwankhoe

https://doi.org/10.26650/Filmvisio.2024.0001

Öz

The resonance of debates and criticisms by media and feminist scholars about the huge disparity characterising the depiction of male and female gender in film narratives has necessitated the need to re-examine the representation of both genders in film narratives. Employing the mixed research modalities of content analysis, sampling, historicocritical, and key informant interview methods, this study investigates the framing of gender issues in selected Nollywood narratives. Anchored in the Framing Theory, the population of study comprised the 3,334 films produced in 2019, 2021, and 2022, out of which three widely acclaimed films -Merry Men 2 (Moses Inwang, 2019), One Lagos Night (Ekene Som Mekwunye, 2021), and Anikulapo (Kunle Afolayan, 2022)- were purposively sampled and content analysed with an intention to unpacking the frames through which the filmmakers presented the male and female characters to the audience. Five juxtaposed and contradictory frames took centre stage in the analysis: Macho men versus weak women, objects of decency versus objects of seduction and sexploitation, the alpha male gazer versus the female object, diligent husbands versus lazy and full-time housewives, and benevolent men versus malevolent women. Since films are largely reflective of trends within the filmmakers’ sociocultural milieu, it is concluded that much of the blame is not apportioned to the filmmakers. Nonetheless, since filmmakers wield much power regarding correcting wrong notions and ideologies in every society, the point is emphasised that Nigerian filmmakers or Nollywood content creators (NCCs) should rethink the framing of women in film narratives.

Anahtar Kelimeler

Nollywood, framing, gender issues, NCCs, mass media

Seçili Nollywood Anlatılarında Toplumsal Cinsiyet Meselelerinin Çerçevelenmesi

Öz

Medya araştırmacıları ve feminist akademisyenlerin sinema anlatılarında erkek ve kadın cinsiyetinin tasvirindeki büyük eşitsizliği karakterize eden tartışmaları ve eleştirilerinin yankıları, her iki cinsiyetin temsillerini yeniden inceleme ihtiyacını doğurmuştur. Bu çalışma, içerik analizi, örnekleme, tarihsel eleştiri ve uzmanlar ile görüşme karma araştırma yöntemlerini kullanarak, seçilen Nollywood anlatılarında toplumsal cinsiyet meselelerinin çerçevelenmesini araştırmaktadır. Çerçeveleme teorisine dayanan bu çalışma, 2019, 2021 ve 2022 yıllarında üretilen 3.334 filmi içeren bir popülasyondan oluşmakta olup, bunların arasından üç geniş çapta beğenilen film - Merry Men 2 (Moses Inwang, 2019), One Lagos Night (Ekene Som Mekwunye, 2021) ve Anikulapo (Kunle Afolayan, 2022) - amaçlı olarak örneklenmiş ve içerik analizi yapılmıştır. Bu analizde, film yapımcılarının erkek ve kadın karakterleri izleyiciye nasıl sunduğunu anlamak amacıyla beş zıt ve çelişkili çerçeve merkezde yer almıştır: Maço erkekler ve zayıf kadınlar, ahlaklılık nesneleri ve baştan çıkarma ve cinsel sömürü nesneleri, alfa erkek bakışı ve kadın nesnesi, çalışkan kocalar ve tembel tam zamanlı ev hanımları ile hayırsever erkekler ve kötücül kadınlar. Filmler büyük ölçüde film yapımcılarının sosyo-kültürel ortamlarındaki eğilimleri yansıttığından, suçun büyük bir kısmının film yapımcılarına yüklenmediği sonucuna varılmıştır. Bununla birlikte, film yapımcılarının her toplumda yanlış düşünceleri ve ideolojileri düzeltme konusunda büyük bir güce sahip oldukları göz önüne alındığında, Nijeryalı film yapımcıları veya Nollywood içerik yaratıcılarının (NCC’ler) film anlatılarında kadınların çerçevelenmesini yeniden düşünmeleri gerektiği vurgulanmıştır.

Anahtar Kelimeler

Nollywood, çerçeveleme, toplumsal cinsiyet meseleleri, NCC’ler, kitle medyası

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