“I never knew you were a harlot” – Revisiting Nollywood’s Portrayal of Femininity and Womanhood in the 2000s
“Films show us what we are, what we were, and what we could, should or (do not) want to be”
Media consumption has always been influential in shaping our worldview. They often serve as a reflection of social, moral, and cultural values at the time of its creation. Often dismissed as mere entertainment, the film holds substantial power in shaping and echoing societal norms. It possesses the undeniable ability to reinforce or disrupt stereotypes, thereby impacting our collective consciousness. Beyond its surface level purpose, the film industry plays a significant role in subconsciously moulding our beliefs and attitudes, for better others for worse.
Coined by the New York Times in 2002, the Nollywood industry, began crafting its own cultural narrative in the 1960s following Nigeria’s independence. The industry experienced a significant upswing in the 1970s, buoyed by the economic boom fuelled by oil revenues and foreign investments. This period saw the emergence of movie theatres across Lagos, showcasing a diverse blend of both international and domestic films. TV shows like "Papa Ajasco" also gained immense popularity not only within Nigeria but also across West Africa.
However, the mid-1980s brought about a downturn in Nigerian cinema. This decline was marked by various factors including the devaluation of the naira, economic hardships, and political instability.
In response to these challenges, audiences gravitated towards the burgeoning Nigerian video film industry, which churned out low budget productions shot on home video and distributed via television and VHS copies in local markets. These productions, commonly referred to as the moniker "video films," gained prominence and became the industry norm following the remarkable success of directors Kenneth Nnebue and Chris Obi Rapu's 1992 film, "Living in Bondage." This film turned into a blockbuster through its home video sales, signalling a transformative era for the Nigerian film scene. Following the triumph of "Living in Bondage," the majority of filmmakers embraced this direct-to-video distribution model, bypassing traditional cinema releases entirely. This shift gave birth to the global phenomenon now recognised as "Nollywood." Notably, Nollywood productions prioritised storytelling over high production values, often revolving around pertinent social and cultural themes.
Today, Nollywood produces over 2,500 movies annually, securing its position as the second largest film industry globally, trailing behind Bollywood in production volume. Remarkably, Nollywood also stands as one of Nigeria's largest employers, underscoring its significant economic impact.
In recent years, however, there has been an evolution in the quality of films emerging from Nollywood, marking a transition from the video film era to the new emerging cinema. Directors such as Kunle Afolayan, Tunde Kelani, Jade Osiberu, Mo Abudu, and Mildred Okwo, amongst others, have played instrumental roles in elevating Nigerian cinema, both in terms of screenplay and writing quality. This shift towards a more sophisticated cinematic approach reflects Nollywood's growth and maturation as an industry.
Revisiting the portrayal of femininity and womanhood in Nollywood in the 2000s
Within the African community and diaspora, there has been a trend of incorporating Nollywood Y2K culture and fashion into the current pop culture landscape. In recent years, there has also been a revival of snippets from classic Nollywood films circulating, often repurposed as memes or short clips referencing iconic moments from these movies.
Yet, moving beyond the iconic low-rise jeans and bold dark lip liner made popular by Nollywood baddies, like Genevieve Nnaji, Omotola, and Rita Dominic, a deeper examination of the portrayal of women in early 2000s films may offer insights into the enduring perceptions and treatment of femininity and womanhood in present day Nigeria.
Women in Nigeria
Nigeria remains deeply entrenched in a patriarchal societal structure, where rigid gender roles often dictate social dynamics. Central to this framework is the pervasive issue of misogyny, a phenomenon not unique to the region but echoed globally. This problem finds its roots in the ingrained socio-cultural practices that set the parameters in which women navigate society. From the restriction of women's rights to the adherence to archaic widowhood rites and the prevalence of practices such as female genital mutilation (FGM), Nigerian women confront a multitude of challenges that undermine their rights and agency. The objectification of women, coupled with their limited participation and representation in political spheres, exacerbates systemic inequality, reinforcing the existing power imbalances.
The intertwining of hyper religiosity and patriarchal norms also has immense influence in shaping societal values, often serving as a catalyst in perpetuating misogynistic attitudes, for which early Nollywood cinema did not hesitate to reinforce these female stereotypes and patriarchal attitudes through its films.
Women in Film
The early 2000s era of Nollywood is often remembered for its hallmark portrayals of certain archetypes and plots. Among these were the femme fatale, the toxic and diabolical mother-in-law figure, depicted as a source of conflict and tension within family dynamics; and the narrative emphasis on heterosexual love as the ultimate goal for women deemed of sound mind.
The archetype of the traditional wife reigned supreme on film. Early 2000s Nollywood depicted the ideal woman, as a homemaker, mother and an enduring wife. Female characters often lacked distinct personality traits or character development of their own, as their worlds and priorities revolved primarily around their roles as wives and homemakers. A 2017 study further highlighted this trend, revealing that only 30% of the major female characters in Nollywood films were shown as career professionals and intellectuals.
In Nollywood, women who pursue professional roles outside the home often face a troubling narrative bias. They are frequently depicted as insubordinate wives and neglectful mothers, seemingly prioritising their careers at the expense of family obligations. What's particularly notable is the stigma attached to the redistribution of household duties, with men who assume traditional homemaker roles portrayed as perverse and deviant. Ironically, these films utilise the image of career women as cautionary tales against infidelity, perpetuating a narrative that suggests husbands are prone to straying when their wives are engrossed with work and that duties outside of the home may imperil one’s marriage.
In film ‘The Bank Manager’, the protagonist is a married, busy career woman with two children. She complains to her brother about the sexual relationship between her husband and their housekeeper to which her brother responds: “If you had settled down and faced your family at home, all of this would not have happened.” This reinforces the notion to women that the presubscribed social and cultural gender roles should be observed. Despite this, infidelity is often used as a narrative device regardless of the circumstances, with women being told that such trials are a test of marital endurance and that they should extend grace and forgiveness to their partners as the most viable resolution to maintain their marriage and avoid the societal stigma associated with being labelled as single or separated.
The toxic mother in law
The portrayal of the cruel, witch-adjacent mother-in-law, often embodied by iconic figures like Mama G - Patience Ozokwor, was overly represented in film. This archetype feeds into deeply ingrained stereotypes of women as conniving, manipulative, idle, and problematic. Typically unfolding with a predictable narrative arc, these characters intrude upon and dominate their daughters-in-law's lives, serving as a vehicle and champion for misogynistic agendas. From scrutinising the absence of grandchildren and hurling insults about barrenness or enabling their sons' negative behaviours, these portrayals reinforce rigid household roles and perpetuate harmful gender norms. Consequently, they contribute to the negative perception of women, both within the realm of film and in broader societal contexts, leading impressionable viewers to “read women in both the films and real life, as outlaws and evil to their families and society as a whole.” (Ukata, 2010)
Love as the ultimate goal
The Bechdel test questions whether a film includes dialogue between two women that transcends discussions about men. This test evaluates the dominance of male centric storytelling and the absence of meaningful female representation. It serves as a starting point for discussions on gender bias and inequality in media. Passing the Bechdel test doesn't necessarily mean a film is feminist or devoid of sexism, but it does draw attention to the presence and agency of female characters beyond their relationships with men.
When considering the Bechdel test in the context of 2000s Nollywood and even in contemporary productions, the majority would likely fall short. During this era, female characters were often relegated to storylines crafted solely through the lens of the male gaze. As observed by Okunna (2000) and Doghudje (2020), Nigerian cinema frequently portrayed women as wayward and of low moral standards, materialistic, lazy, subservient to and dependent on men. They were often depicted as better suited for domestic roles rather than professional endeavours. On screen, women were subjected to heavy sexualisation, abuse, or depicted as longing for validation and affection from a male partner. As articulated in the Journal of International Women’s Studies, “Nollywood tends to suggest that women cannot find fulfilment or self-actualisation without the help of others which in most cases will be men and usually, the husband, father, lover or other male relatives.”
The belief in love and marriage as the ultimate goal is undeniable in Nigerian society, a reality mirrored time and again in various Nollywood productions. Women are depicted as relentlessly chasing after the affection of men, often at great personal cost. This pursuit may lead them to break up marriages, resort to diabolical acts, or sacrifice their identities and careers to conform to societal expectations of wifehood and motherhood. Take, for instance, the film "White Hunters," featuring Ini Edo, Mercy Johnson, and Funke Akindele. The plot revolves around women pursuing relationships with white men (ironically not portrayed by Caucasian actors) as a means to escape poverty and elevate their social status. Similarly, in "Blood Sisters” (2003), Genevieve Nnaji's character, Esther, exhibits extreme envy towards her sister Gloria, played by Omotola Jolade, resorting to extreme measures to sabotage her sister's marriage and secure her husband for herself. Esther's envy ultimately led to her killing her sister.
Female objectification and inequalities for women in Nigeria.
As previously noted, Nollywood consistently participates in the objectification of women. Across various films, females, including young girls, often embody roles such as femme fatales, seductresses, prostitutes, or mere objects of desire. These perpetuate the widespread sexualisation of women on screen, relegating their characters to simplistic, one dimensional women, devoid of autonomy or nuance. It could be argued that such representations have contributed to the normalisation of sexual violence or gender discrimination against women in Nigeria, which remains a pressing issue within the country. When these narratives are portrayed on screen they are represented as something that “just happens” as per the natural order, further reinforcing their normalisation.
The hypersexualisation of women in Nollywood is often facilitated through voyeuristic techniques. As noted by Floribert Patrick C. Endong, voyeurism manifests in films by portraying women as spectacles, objectifying them as objects of desire to be gazed at. “Female characters in films are objectified on three levels: the camera, the male character and the spectators.” By positioning female characters as objects of scrutiny for both the male characters within the film and the viewers themselves. This trend of voyeurism can be seen in the iconic club dancing scenes, where the camera frequently zooms in on women's bodies. Additionally, female nudity often surpasses male nudity in these films, emphasising the unequal representation of gender in cinematic portrayals.
While women were often pigeonholed into mere tropes and caricatures of sexuality or domesticity. Nollywood failed to confront the stark realities that drive countless women into the shadows of sex work or male dependency. In Nigeria, wealth inequality stands at below 65%. With many factors negatively influencing women’s participation in paid work and ability to accumulate wealth. Statistics reveal that women are five times less likely to own land than their male counterparts. Moreover, access to quality education remains elusive for many women, with over three-quarters of the poorest women in Nigeria having never attended school, and a staggering 94% of them being illiterate.
These inequalities reveal the barriers women face in achieving economic empowerment and social advancement in Nigerian society. These socio-economic factors play a big role in driving women toward sex work or marriage in order to navigate these challenges and increase their social mobility. So, while Nollywood may portray women narrowly, the reality is far more complex, with systemic inequalities shaping women's choices and opportunities in Nigerian society.
Final thoughts
Nollywood is transforming. The industry is now crafting narratives with more nuanced storylines and character development, offering some better representation for women and their experiences.
Nevertheless, the imprint of the 2000s film era has undoubtedly, shaped the way women have been viewed in Nigerian society. Film is an artistic reflection of the socio-cultural environment it evolves from, reflecting the realities of its society. Therefore, by exploring the socio-cultural milieu of Nigerian films we are better equipped in understanding the issues of gender relations in Nigeria. Which to a concerning degree can be said to be pitiful. Gender disparity and inequalities remain a huge issue in Nigeria. In popular culture and social media, it’s common for Nigerian men, and women to express misogynist and anti feminist ideals in a fighting attempt to uphold patriarchy. Feminism as an ideology is highly demonised in Nigeria even amongst the younger generation who should in theory be more progressive and knowledgeable on the nuances of these matters. According to Ododo and Labiran, most Nigerian men view “women as inferior, derogatable opposites, prostitutes, sex slaves, confusionists, unreliable and schemers”.
Yet, as Nigeria grapples with the issues of women’s rights there is a growing recognition of the need for systemic change. Efforts to challenge patriarchal structures and combat misogyny are gaining momentum, driven by grassroots activism and advocacy for gender equality. Yet, the journey towards true gender equality remains fraught with challenges, requiring sustained efforts to dismantle entrenched norms and foster a more inclusive society.
