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The Effects Of Home Video And Movies Industry On The Socio-moral Behaviours And Crime Prevention In Nigeria
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These groundbreaking achievements of the video film as against the
Lethargy of celluloid film as forms of media production in Africa
indicate a call for an urgent revision of the concept of filmmaking in
the continent.
Perhaps, only the most absurd liberal would refuse to
believe that just as movies can help bring about positive changes in
beliefs, lifestyles and behaviour, they could also cause negative
changes. In Nigeria today, Government, parents and even consumers have
cried out against the negative content of our movies, vast majority of
them containing ritual scenes, graphic- groups, and the abuse of our
cherished institutions.
Mba (2002:23- 3) comments in his speeches to
the youths in Abuja that: “I can’t count up to ten movies that portray
Nigeria and its institutions as professional or something one should
look up to.
However, looking at the situation today, it is heart
rending, as the giant of Africa remains a wishful thinking and nice
dream of a paradise of some sort yet to be realized. It is in this light
that one can observe that the plight of the Home video and movies
industry is on account of the contradictions contained in our religious
and social structures. The reality of video industry is a situation,
which demands further research. The hue and cry is not all for nothing.
1.2 STATEMENT OF THE PROBLEM
Although
the Home Video Industry in Nigeria is barely more than a decade, it
commands a household name. It commands a very large and active audience
and it covers every aspect of the Nigerian society. Its impact on the
areas of the culture, religion and morality has generated a lot of
uneasiness. Fear looms heavily in the mind of conservatives about the
possible results of the incursion into the traditional value of culture
and morality. Some calm these fears by saying that, “it is only
entertainment, it is just to help people relax and take time off the
medium of their chores. There is nothing to be apprehensive “aboutâ€.
They
say it does not raise any pertinent moral questions. But the reality of
the video industry confronts us with a situation which demands
immediate response. How did the video film phenomenon which is fondly
referred to as “Home videoâ€, “Nollywood†“naijawoodâ€, among others, in
the Nigerian media culture emerge? What sort of reception does audience
elsewhere accord Nigeria video films? And why do they grant the films
such reception? These are the issues which the researcher wishes to
address.
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