National cinema and domestic violence in Nigeria: a psychoanalytic study of selected Nigerian video films.

Abstract

Research has shown that the rise of African cinema took effect from the early twentieth century, a period of the decolonization of sub-Saharan Africa, though what became African cinema during colonial rule did not reflect the core of African cultures and values. Instead, African cinema at that time was characterised by Western stereotypes and Africa was utilized merely as an “exotic” background for Western cinema. However, the development of African cinema underwent a significant change in twentieth century, when many African countries obtained their independence. This phase of development in African cinema is especially true of the former French colonies, whose local filmmakers received technical and financial support from the French Ministry of Co-operation. It has been observed that most of the films, prior to independence were egregiously racist in nature Borom Sarret (1963), Niaye (1964). Prominent African filmmakers of the independence era – such as Ousmane Sembène and Oumarou Ganda, amongst others – saw film as an important political tool for rectifying the erroneous image of Africa. Sembène, a Senegalese writer, had turn to cinema probably to reach a wider audience. He has been described by Dennis Mclellan (2007), a Times Staff writer as the "father" of African Film because of his leading role in the development of African cinema. Also his first production, La Noire de..., in 1966 which is based on one of his short stories; was the first feature film ever released by a sub-Saharan African director. Clement Tapsoba, in his “The History of African Cinema and the Origins of FEPACI” posted on Cultural Diplomacy website states: The African cinema industry acknowledges undeniably the need to develop its own way of making films, support their local initiatives, and invest in cinematic cultures such as films festivals. It has shown significant growth and progress in the beginning of the 21st century, a fact reflected in some innovations like the creation of Journals of African Cinema and African TV channels (African-Magic). Many countries such as Nigeria, Kenya and South Africa offer the great opportunities for content producers and distribution platforms for film, television, digital media, mobile and other forms of entertainment. An ever-growing film industry, encouraged by increased investments and the abolition of censorship, will further add impetus to an already booming sector by allowing creative minds to harness this cultural capital. Furthermore, an expanded film industry translates into a flourishing labour market, providing new opportunities for young talent and consequently helping to combat the global contemporary phenomenon of youth unemployment and other social vices. However, in the long term, investments in the film industry of Africa will aid African countries in their quest for the universal goal of sustainable development. It is important to take a look at another core of this discourse ‘domestic violence’.