African video films: Stereotypes and narrative crumple in the quest for transnationality in Dar 2 Lagos

Abdullah Hamza Mohammed


This article takes a close-up look at Dar 2 Lagos, a film by Femi Ogedegbe,
focusing on how the film attempts to feature transnational elements in filming
across Africa. The film which demonstrates a new trend in filmmaking practices
in Africa introduces possible multinational collaborations which are likely to offer
opportunities for talents and producers to team-up and utilize not only talents
and stories but also beautiful locations around the continent. However, such
opportunities for the industry to cater for the demand of the audience with stories
that people across the continent share and relate to is haunted by the film’s
stereotypical representation of women. While I read Dar 2 Lagos as the industry’s
effort to unite the two emerging film industries in Africa, Nigeria’s Nollywood
and Tanzania’s Bongo Movies, I also highlight the way the film segregates
women in the union process. I use a textual analysis to argue that although the
current film practice in Africa attempts to ease border crossing, Dar 2 Lagos
permits only male stories, ideas, narratives, talents and bodies to unrestrictedly
move between African nation-states and beyond. The film’s narrative denies free
movement of the female bodies and their passions. This stereotypical practice of
the medium perpetuates the past cultural practices and therefore jeopardises a
clear envisioning of the future of film production in Africa.
Key words:
Transnationalism, African filmmaking, Women’s Representation, Future of
African film production

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