An appraisal of Ritualism in Nigeria Home Videos
CHAPTER ONE
INTRODUCTION
1.1 Background Of The Study
Since home-video movies first appeared on the Nigerian entertainment scene in the late 1980s, they have gained popularity as a common form of family entertainment and have also proven to be a lucrative source of income for many filmmakers, some of whom had to find a way to continue operating after the demise of celluloid film (Okeckukwu, 2016). A sizable number of talented actors who needed a platform other than the traditional theater to express and exhibit their intrinsic skill found artistic fulfillment through home video (Tasie, 2013).
The home video movie or picture tells a gripping story about a struggle between good and evil that frequently features supernatural elements as well as the schemes, plots, and schemes of individuals who want to become wealthy and have opulent lives (Haynes, & Okome, 2000).
Moreover, video movies are frequently referred to as “films,” “videos,” or “home video movies” depending on the conversational language they were produced in, such as Yoruba, Igbo, Hausa, or Pidgin (Okeckukwu, 2016). They use a variety of cultures and beliefs, both ancient and modern, as sources to tell stories. The popularity deserved by tales and the numerous interesting characters and events in them seems to be outweighed by the liveliness of Nigeria’s home video industry and the velocity at which it produces them.
The majority of home video productions thrive on the now-common basis of ritualized activity portrayal. They present odd representations of spirits or other beings whose regular behavior has been changed (Nwogu, 2007). The use of rituals and monstrous characters to create situations where luxury and wealth transport the performers from a world of reality into a realm of imagination is a recurring theme in these movies.
Although if the path to the idealized world of prosperity is frequently paved with evil deeds and people, in the narrative, it is their existence and application that bring about “success”. In truth, success often proves to be transient and may take the form of a deviation from reality rather than the creation of a new, permanent reality (Nwogu, 2007). Ritual sacrifices are typically required to achieve the desired result, and since the ritual sacrifices are almost always humans, the “journey” to it has permanent consequences. The videos’ purported moral purpose is to portray this conduct as bad in order to deter people from engaging in it, but the rivers suggest the opposite. This study’s goal is to investigate ritualism in Nigerian home movies against this background.
1.2 Statement Of The Problem
Home films have been recognized as a popular culture medium that not only mirrors and narrates the stories through which it exists, but also reflects the attitudes, behaviors, and surroundings of a certain civilization (Alawode & Uduakobong, 2013 ). In order to pique viewers’ interest and imagination, Nollywood home videos use situations and themes that convey narratives that are unhealthy for society (Kumwenda, 2008). One of the frequently used themes in Nollywood home movies to illustrate African content and cultural pattern is ritualism. Yet, as frequently depicted in Nigerian films, the ritualistic act is performed primarily for financial gain. The production and viewing of these types of home movies raises concerns in society since they have a particularly negative influence on children (Okon, 2015). As stated by Tasie (2013), “The killing of a living creature (including humans) as a ritual to a god or spirit used to be termed a blood sacrifice or ritual killing is an old-fashioned term that focuses attention on the spilling of blood by cultists and ritualists with the belief that this act usually results in a return of good fortune, but these spiritual scenarios and sacrifices has dominated the content of most Nigerian homes” (Tasie, 2013).
1.3 Objective Of The Study
The study generally bases its findings on an analysis of ritualism in Nigerian home movies. But the study will be investigated through the following particular goals;
i. Examine the effect of ritualism on societal morality in Nigerian home films.
ii. Analyze the impact of ritualism on viewers’ perceptions of wealth creation in Nigerian home videos.
iii. Determine whether ritualistic behavior in Nigerian home videos has been attributed to local ritualistic behavior.
1.4 Research Questions
The following inquiries will serve as a guide for the study:
i. What effect does ritualism have on societal morality in Nigerian home videos?
ii. Does the way ritualism is presented in Nigerian home videos affect how the audience views the development of wealth?
iii. Has ritualism in Nigerian home videos been linked to local ritual practices?
1.5 Significance Of The Study
In recent years, the majority of Nigerian home movies have increasingly featured ritual practices; its implications, particularly for young people, cannot be ignored. As a result, this study will critically highlight the effects of overly religious themes in Nigerian films. In order to prevent the cultural, social, and moral values of the society from being destroyed, the Nigerian government would be better able to understand the necessity to plan for screening and controlling what the movie business is exhibiting through television programs. The study will also draw attention to the necessity for controlled home video production and consumption and the need to outlaw some films that are incompatible with our culture, traditions, and morals.
It will also be used as a literature review by later researchers. As a result, other students who may decide to conduct research in this area will have the chance to use this study as relevant literature that can be evaluated critically. The study’s findings invariably provide significant contributions to the body of academic knowledge about the analysis of ritualism in Nigerian home movies.
1.6 Scope Of The Study
This study looks at how ritualism is rated in Nigerian home movies. The study will focus on the effects of ritualism in Nigerian home videos on social morality, the audience’s impression of wealth creation as a result of ritualism in Nigerian home videos, and the relationship between ritualism in Nigerian home videos and traditional ritual practices in Nigeria. As a result, the study would be restricted to Ogun State.
1.7 Limitation Of The Study
When doing the study, the researcher ran into some minor obstacles, just as in every human endeavor. Due to a lack of resources, the researcher was only able to choose from a small number of sample sizes while looking for pertinent materials, literature, or information, as well as when collecting data. Even more so, the researcher worked on this study and other scholarly projects at the same time. The time needed for study will be cut down as a result.
1.8 Definition Of Terms
Home video refers to prepared videocassettes or videodiscs that are advertised for use at home.
Ritualism is the regular performance of rituals, especially when they are excessive or performed without consideration for their intended purpose.
Reference
2013; Alawode and Uduakobong. renew Nollywood under a ministerial oath.
Developing Popular Media: Nigerian Video Films, in Haynes, J. Nigerian Video Films, 2000. Okome, O. and Haynes, J.
2008’s Kumwenda. A case study of the visual rhetoric of Igbo culture in Nollywood films, from ceremonies to movies.
Nwogu, L. I. (2007). Advancement of culture and image portrayal in Nigerian cinema. Theatre and Performing Arts Department, Ahmadu Bello University, Zaria, Nigeria, M.A. dissertation.
Okeckukwu, (2016). (2016). The Impact of Witchcraft/Voodoo Representation in Nollywood on the Growth of Nigeria.
G.B. Okon (2015). A Portharcourt City Study on Viewers’ Responses Regarding Overuse of Ritual Themes in Nigerian Home Videos.
Theasie, G. (2013). African Traditional Religion in Nigerian Video Films: A Reflection.
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