Long before the advent of film and literary narratives, Africans were familiar with the shrill of the villain’s malice and the thrill of the hero’s valour in folktale stories told under the moonlight. With the transformation of Africa’s socio-cultural life by the process of modernization, the art of storytelling is remediated among many other channels, on the home video films: Nollywood. Common to the patterns of storytelling, most Nollywood films concludes with the hero dismantling the negative effect of the villain and the crisis instilled within the fabric of the culture. Virtue triumphs over vice in Nollywood. However, different from oral storytelling, visual storytelling can be far more gory and vivid in details compared to the former. In the visual dramatics and diatribe between vice and virtue, before vice becomes vanquished by virtue in the plot of Nigerian films, the negative vice must be displayed in full force with concomitant consequences. This in some ways re-enact the age long debate of theodicy in both philosophy and theology; the presence of God and the problem of evil. This paper postulates and verifies by film analysis the unequal distribution of time and space in film plot between the portrayal of the vice that is condemned and the virtue that is promoted. By such unequal narration exposition, this paper conjectures that films can have an inverse effect of teaching the vice it seeks to condemn. As Pope wrote, “Vice is a monster of such frightful mien, as to be hated needs but to be seen; but seen too oft, familiar with its face, We first endure, then pity, then embrace.”
The onus of this thesis hung on ascertaining Hollywood imperialism on the behavioral pattern of teenagers in Calabar-South Local Government Area of Cross River State, Nigeria. A multicultural milieu atomized as Efik, Efut and Ejagham clans. Pigeon English and Efik are their diglossia. An area intimately stigmatized by an obnoxious phobia. This study was between June 2013 and November, 2013; and it uncovered the root causes of these attritions. Here, the Social Cognitive Theory, created a paradigm shift from a humble African belief to the polemics of Hollywood imperialism, experimented on 200 teenagers of age bracket 12 to 25 years as sample male and female. A survey method questionnaire titled ‘Individual Experience Questionnaire’ (IEQ) was used for data collection. Using statistics, it was revealed that: (i) 55.8% acculturated Hollywood movies influenced teenagers’ aggressive behaviour. It unveiled the presence of different secret cults, emanating from popular Western cultures. Within this precinct, these cult groups meted mayhems: prostitution, child abandonment and other nefarious threats, mostly perpetrated by primary and secondary schools’ dropouts, broken homes and poor parental care as authenticated by personal interviews. (ii) 97.5% posited that Hollywood movies do not depict Nigerian trado-cultural hegemony; thus leading to a shift from indigenous to alienists’ culture instead of mummifying the unique ‘Africanism.’ While concluding that Hollywood imperialism has caused a shift in youth behavioral paradigm in Calabar-South, it was recommended amongst others that Government (through FVCB) should enhance a curtail of Hollywood film shows while adopting/encouraging philanthropic youth based projects such as the Obioma Liyel Imoke’s Destiny Child Centre and Mothers Against Child Abandonment.