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REPRESENTATION OF TERRORIST ATTACKS IN 
NOLLYWOOD FILMS: AN ANALYSIS OF JETTA AMATA’S

BLACK NOVEMBER 

Ojieson Silver Abhulimhen 
Day Waterman College, Abeokuta, Ogun State. 

08035503729, 08128243139; silverabhulimhen@gmail.com 

Abstract 

Nollywood’s dramatization of anarchy has come in scanty but
different forms inspite of the near-impossible feat at actualizing large 
scale human and property destructions. This problem derives from 
funding constraints, accessibility to technical-know-how to execute 
precise representation of terrorist attacks in a magnitude befitting of 
national and global references. The study aims at making Nollywood 
present terrorism as a social menace that is not only a heinous crime 
but a bold move aimed at making a loud statement where several 
attempts at correcting obvious anomalies have failed to yield desired 
results. In most cases, the leadership composition of known terrorist 
organizations appeal to some quarters as folk heroes who have 
salvaged some communal crisis, while also pandering to a version of 
criminal desperado. Nollywood has enacted series of anarchy which 
in most cases endeared sympathizers who would stop at nothing to 
justify the rationale behind its glorification of anarchy over order. 
Nollywood films such as Jetta Amata’s Black November highlight 
the intellectual basis for taking arms against a state. This paper 
therefore bases its argument on the idea that social circumstances 
which ignites the effrontery of criminal conspiracy to unleash terror 
on a sovereign nation derive from several factors such as anomalies 
not unassociated with political incompetence culminating in security 
breach triggered by social, economic, cultural, religious and political 
injustices. It concludes that some filmmakers base their production 
concept on exposing inherent insincerity of purpose by government 
and terror mongers with certain perceived anomalies thereby 
warranting violent insurrections.  

Keywords: Nollywood, Terrorism, Anarchy, Productions, Social 
Justice. 

Introduction 

Post-election violence, it seems was the commonest of anarchy that rears 
its ugly heads in modern Nigeria. This supposes that there was a country 



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where at the news of natural disaster elsewhere, folks will lift up their 
hands and thank God that it was not affecting Nigeria. Acts of terror have 
become common place with incessant ethnic clashes and religious 
differences becoming more pronounced nowadays. The invasion of Benin 
Kingdom in 1897 and the subsequent amalgamation of the Southern and 
Northern protectorates it seems are unashamedly terrorist in execution as 
this superimposition run contrary to the indigenous wishes of the natives. 
In the course of the Nigerian civil war, the Federal Government and its 
foreign allies perpetrated a terrorist hegemony over the seceding state of 
Biafra and truncated its vision of an Eastern-across the River Niger Free 
State. Many acts of anarchy have occurred in Nigeria and much more 
unfold on a daily basis yet every mechanism employed to checkmate acts 
of criminality and terror seem to yield little or no concrete results.  

It seems that Socio-economic, religious and political factors influence 
anarchy in Nigeria. Culturally, ethnic crisis and land disputes have left 
many homeless in this country, but not in a most unsavory way as the 
socio-economic campaigns of MEND (Movement for the Emancipation 
of the Niger Delta), which in its drive to address the injustice of resource 
control has mounted anti-state military bombardments of oil facilities. Not 
different in intent is the campaigns by the Niger Delta Avengers and other 
such groups. This in part has culminated in the Amnesty programme for 
Niger Delta Youths. In the name of Religion, families have been torn 
apart, supremacist ideologies hoisted by one religion over another and the 
chances at a better life, denied some people especially in some parts of the 
North. In the most notable acts of terror ever unleashed in Nigeria, the 
Boko Haram sect have sacked the North-Eastern states of Nigeria in its 
efforts to Islamize Predominantly Christian-populated areas in the North-
East. Again, the economic joker card rears its head again as there are 
ample references suggesting that while the sect wishes to entrap the region 
in its religious abracadabra, there is no gainsaying that prospects of oil 
explorations in the Chad Basin is the prime factor influencing its jihadist 
exploits in the North-East of Nigeria. The political point to note in this 
state of anarchy is rooted in Government’s inability to make life bearable 
for all. Means of survival in a modern state are totally unavailable and to 
make ends meet, a large chunk of jobless youths become ready tools in the 
hands of insincere politicians as thugs and in the process, become 
criminals who terrorize the state. 



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It is common knowledge that some politicians arm unemployed youths 
who they use to intimidate their opponents and disrupt free and fair 
elections. When the victory is won and the weapons are not retrieved, the 
youths become a serious threat to the wellbeing of the state. In some cases, 
the welfare of the citizenry is totally forfeited for personal aggrandizement 
leaving socially conscious youths with no options than to take arms 
against the state. There is some iota of truth that some ethnic jingoist are 
raising a secret army to unleash mayhem where land-grabbing campaigns 
have been mounted to dispose indigenous people of the Middle Belt of 
their ancestral homes. The farmers-herders’ crisis which has decimated
communities in the Middle Belt, a geo-political zone in the North Central 
blessed with lush vegetation does not betray any concealed sentiments. 
The confluence of the Niger and Benue rivers provide the most golden 
opportunities for nomadic exploits as villages are terrorized and claimed. 
Whether this comes as ethnic cleansing or not, political benefits and 
resource-control (Federal Allocation?) as the more local governments 
these land grabbers possess will inform how much democratic joker-cards 
they play with. On the religious angle, there is a distinctive barricade 
between Islam and Christianity and this immediately sign posts a 
dichotomy that when thoroughly examined from a religious and ethnic 
point of view sets each against the other. While a side cannot claim to be 
enforcing a genocidal campaign, the most intelligent means to actualize 
dispossession would be to raise a mercenary contingent totally unattached 
to the identifiable group to embark on a mission of wiping out any 
resistance towards actualizing a clandestine goal. 

In the light of ongoing destruction of lives and properties in the Middle 
Belt, it seems that human lives have even become less valued against the 
life of a cow. These medieval precedents have exposed the stark reality of 
ethnic bigots who, in spite of apparent dots connecting them to the 
clannishness of Jihadist tendencies operate without conscious efforts by 
the security chiefs of Nigeria to apprehend them and bring them to justice. 
In cases where reprisal attacks were common, the security apparatus which 
is Pro-Destructively biased would rather swoop into actions and make 
arrests whereas, when communities brutally displaced are ransacked, no 
arrests are made. One only hopes that in the long run, a bloodied civil war 
which might consume all does not ensue. It is a known saying that one 
cannot continue to beat a child and expect him not to cry. And when the 
birds are come home to roost, there shall surely be retaliatory efforts in the 
manner in which cattle rustlers have been overtly taking a pound of flesh 



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over their stolen cows. Yet it baffles one to imagine why after series of 
attacks on indigenous people, the state government of all affected states 
have not deemed it fit to make concrete plans to enact laws by its state 
houses of assembly for state policing, drone networks and satellite patrols.  

Nollywood Films and Representation of Terrorist Attacks 

According to Ismaila “Every society at one point or the other has
experienced not only violence at individual level but at intra and inter 
communal levels” (16). It still baffles the victims of terror attacks why 
they continue to experience the dastardly and wanton destruction of their 
lives and properties. People all over want a good life, to wake up every 
day and begin a new life, but this is hardly the case. While some are going 
about their daily lives, a disgruntled sect who profess a supremacist 
agenda, whether on a political, religious or ethnic basis, plan to unleash 
mayhem. Arguing further is the position by Ismaila that “In our present
world, the oppressor and the oppressed, the ruler and ruled, the state and 
the masses and all manner of groups provide justifications for resorting to 
terror and violence” (26). The case of the Middle Belt is peculiar because,
if the communities were properly policed and a herder’s cow that was 
stolen warranted arrest of the perpetrators, there would not be need for 
reprisals costing numerous lives and unnecessary destructions of 
properties. If criminal elements in a community are in the habit of 
smearing their ancestral homeland with acts of violence against strangers 
and they are not shielded by law enforcements, nomadic folks, whether of 
different or same tribes will not feel the need to retaliate. But the lines are 
blurry here as regards why religion and economic transactions have found 
an unholy alliance. What is happening in Nigeria does not fall short of 
terror, whether for economic, religious, political, ethnic or ideological 
purposes. 

In the words of Jenkins: 
Terrorism is often described as ‘mindless’ violence, ‘senseless’
violence, or ‘irrational’ violence. None of these adjectives is correct.
Terrorism is ‘not’ mindless violence. There is a theory of terrorism,
and it often works. To understand the theory, it must first be 
understood that terrorism is a means to an end, not an end itself; in 
other words, terrorism has objectives (3).  

The assertion above clearly indicates that terrorist perpetuations are aimed 
not only at wreaking havocs but to achieve noble as well as selfish 
purposes as it may concern the perpetrators. Whether as an individual or a 



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group who seek to make statements politically, religiously, economically, 
or scientifically, there is always the need to use pressure to quicken their 
resolve, especially when the system is considered a hindrance to achieving 
the ‘unpopular’ demands as it concerns the socio-cultural and political 
wellbeing of all and sundry. 

According to Weiman in his discussion of Media and Terrorism, he opines 
that “from its early days, terror has combined communicative and
psychological aspects”. He went further by asserting that the word “terror”
itself comes from the Latin word “terrer”, which means “to frighten” or
“to scare”. Submitting that the first use of large scale terrorism was during
the popular phase of the French Revolution which lasted around the period 
of June 1793 to July 1794 in France popularly known as the Reign of 
Terror or simply ‘The Terror”. The background of the upheaval, Weiman
says followed the overthrow of the Monarchy which plunged the nation 
into chaos and the government found itself into frenzied paranoia. The era 
witnessed the executions of thousands by the Revolutionary Tribunal 
which aimed to instill fear (3). 

Citing Laquer (104), Weiman asserts that modern terrorists have become 
exposed to new opportunities for exerting mass psychological impacts as 
a result of technological advances in communication technologies. He 
noted that media inspired terrorism have now replaced the public 
executions in Parisian squares with spectacular violent productions 
performed on the global stages for the mass media. In Nacos’ (8) view
“getting the attention of the mass media, the public, and decision-makers 
is the raison d’etre behind modern terrorism’s increasingly shocking
violence”.  

In the view of Jenkins (1) terrorism appears to have increased markedly in 
the past few years. Political extremists in various parts of the world have 
attacked passengers in airline terminals and rail road stations, planted 
bombs in government buildings, in the offices of multinational 
corporations, in pubs, in theatres, have hijacked airliners and ships and, 
recently…have held hundreds of passengers hostages, have seized
embassies, and kidnapped government officials, diplomats, and more 
recently, business executives. Terrorism may not be synonymous with 
violence but it exudes violent operational systematics. This is because all 
terrorist attacks are violence inclined and aimed to cause untold pain and 
warrant a mind-changing status-quo especially with large scale decision 
making. As noted by Ismaila (1) “violence as a word covers a wide range



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of activities from mere use of words to large scale terrorism…Violence
has been studied from several perspectives ranging from: its impact on 
cinema and television, sociological study of effects, study of the 
psychological mechanisms involved, laboratory studies, economic 
perspective, and cultural studies”.  

It is Jenkins’ (529) opinion that “Terrorist attacks are carefully
choreographed to attract the attention of the electronic media and the 
International Press. Taking and holding hostages increases the drama. The 
hostages themselves often mean nothing to the terrorists. Terrorism is 
aimed at the people watching, not at the actual victims. Terrorism is a 
theatre”. In view of the above Kerber (529) is of the opinion that “The
terrorists’ message of violence necessitates a victim, whether personal or
institutional, but the target or intended recipient of the communication 
may not be the victim”. These days, terrorist prefer the world stage–open-
public opinion galvanized media compared to obscure sources of 
operations as maintained by Bell (89) when he said that “It has become
more alluring for the frantic few to appear on the world stage of television 
than remain obscure guerillas of the mass-mediated terrorism in terms of 
effectively reaching huge audience than with the nature of dastardly 
destructions that will result from their operations (Weiman 3). 

According to Weiman: 
From the ‘Theatre of Terror’ perspective, the September 11 attack on
America was a perfectly choreographed production aimed at 
American and International audiences. Although the theatre 
metaphor remains instructive, it has given way to tension as a global 
television spectacular with ‘Live’ breaking news, watched by
International audiences, and transcends by far the boundaries of 
theatrical events (6). 

Going further, Weiman asserts that in the past, most-if not all acts of 
terrorism resulted in a great deal of publicity in the form of news reporting, 
but the September 11th attack introduced a new level of mass mediated 
terrorism because of the choices the planners made with respect to method 
, target, timing and scope (6). Describing the targets chosen for September 
11th, for example as symbol of American wealth, power and heritage, 
Dobson and Paine (5) capture the anecdote of one of Black Septembers’
response after the terror attack by Palestinian terrorist of the Munich 
Olympics 1972 saying that: 



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We recognized that sport is the modern religion of the Western world. 
We knew that the people in England and America would switch their 
television sets from any programme about the plight of the 
Palestinians if there was a sports event on another channel. So we 
decided to use their Olympic, the most sacred ceremony of this 
religion, to make the world pay attention to us. We offered up human 
sacrifices to your gods of sports and television. And they answered 
our prayers. From Munich onwards, nobody could ignore the 
Palestinians or their course. (n.p) 

Jenkins opines that ‘some governments are prone to label as “terrorism”
all violent acts by their opponents. Rebels rarely call themselves terrorists, 
but frequently claim to be the victims of government terror. In short, the 
definition of terrorism seems to depend on point of view-it is what the ‘bad
guys’ do”. By this definition, Jenkins assert that Terrorists recognize far 
fewer immune civilians. Terrorists may regard a person as an enemy, and 
therefore a target, solely on the basis of nationality, ethnicity, or religion. 
Or one can become a target by mere happenstance-by watching a movie 
in a theatre when a bomb goes off, or by passing through an airport waiting 
room when passengers are machine-gunned (2).  

Whilst discussing ‘terrorism and the role of the media’, Spencer submits
that it has become widely accepted that there is an almost symbolic 
relationship between terrorism and the media as terrorism provides for 
exciting and violent stories which help sell the news product and the media 
provides terrorist groups with a means of spreading their message and 
creating fear among the general public (5). The hashtag #Breaking News 
which most media stations headline causes in some quarters a 
predisposition for the bizarre and stomach churning Armageddon of bad 
news and violent occurrences. The mainstream media is not the only 
sources where the propagation of bad news is evident. There is the use of 
social media to perpetrate bullying and acts of violent insurrections as 
Weiman (2014:3) posits that: 

Terrorists have good reasons to use social media. First, these 
channels are by far the most popular with their intended audience, 
which allows terrorists organizations to be part of the mainstream. 
Second, social media channels are user-friendly, reliable and free. 
Finally, social networking allows terrorists to reach out to their target 
audiences and virtually ‘knocks on their doors’-in contrasts to older 
models of websites in which terrorists had to wait for visitors to come 
to them.  



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In her attempt to juxtapose the relationship between a planned theatrical 
outing and its similarities with a terrorist attack which takes much time to 
plan, Silva holds the view that Marvel’s 2012 summer blockbuster The 
Avengers describes in simplicity the way that terror and performance are 
related. Iron Man (Toni Stark) and Captain America discuss Loki, 
legendary bad guy, demi-god, and brother of Thor’s plan to defeat them
(1). Further on, it is Silva’s assertion that ‘Loki’s strategy to capture earth
and force human kind to bend to his will’ compares with a planned attack
in the form of 9/11 wherein the location of the attack was the world trade 
centre (Stark Tower) with its new sky scrapper and clean energy beacon 
situated downtown. She opines that ‘from images of New York City’s
destruction, flying spaceships knocking into buildings, temporary 
memorials for the lost and dead, and an imminent ‘foreign’ threat thereby
making The Avengers just one of many adventure films that drama out 
post 9/11 anxieties of attack and terror in the crowded NYC (1).  

Corroborating the above point is Beall when she said that: 
The collapse of New York’s Twin Towers on 11th September 2001 
dramatically demonstrated the susceptibility of cities to terrorist 
attacks. Two and a half years later, on the 11th March 2004, bombs 
were detonated on packed commuter trains in Madrid, killing 191 and 
injuring over 1,500 people, extending an amplified sense of urban 
vulnerability to cities in Europe. This was reinforced by the London’s
bombings in July 2005, which again targeted ordinary city dwellers 
going about their daily lives (1).    

In the light of the above, it comes to the understanding that violence is 
sometime borne out of the desire of man to control, exploit and infringe 
on the freedom of one another (Ismaila 15).  

Terrorist Aparatus Deployed in Black November 

Black November does not conceal its hatred of capitalism and the powers 
which undermine our collective and individual destinies as the Federal 
Military Government and Western Oil collaborate to make life unbearable 
for the Niger Deltans in this Nollywood production. The film which is but 
an innuendo for the foreign corporations exploring crude oil in the Niger 
Delta, interrogates the rationale behind constant exploitation of the Niger 
Delta folks by its government and capitalist interest. It is noteworthy that 
the brutality perpetuated in the movie is only but a signature of the military 
junta which undermined human rights. Ebiere, who is a beneficiary of the 
scholarship of Western Oil dies a martyr for the inspiration which served 



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as basis for the numerous support/protests aimed at facilitating a better 
Niger Delta region.  

The provocations emanating from the peoples’ resistance ofWestern Oil’s
encroachment on the peoples’ environmental wellbeing and the
Government’s nonchalance soon gives birth to a radical group that seeks 
to wreak havoc on the economic life line of the Nigerian State. Such 
burning issues of a socio-economic, political and cultural concern which 
made it to centre stage is given birth to as an aftermath of Ebiere Perema’s
harassment and disillusionment as we come to appreciate her individual 
efforts and how this inspired a radical group. The activities of Western Oil 
which resulted in oil spillage and incessant pipe line explosions resulting 
in deaths, trigger assemblage of the mammoth crowd at the facility of 
Western Oil. Instead of dialoging with the indigenes, the corporation uses 
force and backdoor ‘tactics’ to pacify the people as it hands money to some
insincere elders who did not commit the funds to a better course. Irate 
youths soon take the laws into their hands leading to arson and revolts. 
From this point, when the authorities vehemently forbid further protests 
and shoot at unarmed citizens, a splinter faction of the law-abiding folks 
became radicalized.  

The Los Angeles terror alert scene, the SWAT team, News Team and the 
Soldiers comes as no surprise after numerous attempts to rally support for 
the welfare of the Niger Deltans. The opening scene at Los Angeles, in 
candid opinion looks like a Hollywood Action film, and this is made 
possible by budgetary considerations. The assemblage of the actors, the 
props-cars, trucks, and use of space, in this case, the tunnel gives the movie 
a critical attention score as we return to the Niger Delta. This first 
impression leaves us anxious and desperate to see how the explosives on 
the tankers will detonate. America does not negotiate with terrorists yes, 
but in what was clearly a terrorist attack, the world media was given 
insight into the fate of a girl (Ebiere Perema) whose campaigns for 
environmental preservation was met with Authoritarian and Capitalist 
force.  The circumstances under which the Niger Delta militants gained 
access into America’s border meant that the matter was deserving of
global intervention. Black November clearly demonstrates that terrorism 
may not be solely aimed at destructive acts but to achieve a noble course. 
There may be casualties along the way, but as in this film, the militants 
became reactionary only after they were treated brutally by Government 
forces that were hell bent on disorienting them rather than proffer solutions 
to the cause for which they fought. 



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In the initial days of the struggle, the youths began only to take arms and 
captives for ransoms after all mediation reached a dead end as the 
government agents who wanted them to lay down their arms came only to 
wipe them out. It was at this point it became clear to them that the 
government cared more about the proceeds of the oil exploration and 
destroy everything standing on its way rather than concede any ‘People’ 
mandate. Serious attacks on the state became pronounced as an indigenous 
Officer watched his people brutalized but was powerless to retaliate. It 
was the indigenous Officer who brought a wealth of military tactics to bear 
on the operations of the amateur Niger Delta militants. Their ultimate goal 
was not to sabotage economic activities but that, Ebiere Perema must not 
be hanged which was the premise of their planned attack on US soil. 
Western Oil being a US company made the choice of the attack on 
America; to drive home the point that America’s economic interest which
undermines the wellbeing of indigenous Niger Delta people was against 
the good interest of Nigerian populace.  

The prominence of the USA, which is arguably the World’s political and
economic hub can, by its International Relations and Diplomatic might; 
influence the Nigerian Government to reverse the death penalty upon a 
daughter of the Niger Delta, thus the socio-economic and political need to 
exploit this avenue. For this reason, the production of Black November 
gives the opening scenes a viable reference detailing the rationale for the 
American attack.  

Terrorism and Media have a symbiotic relationship as we see in the case 
of the deceit which was pulled by the ANN boss. Tension rises and fall 
when ANN’s boss saves America the embarrassment of a Terror attack by
amateur Niger Delta Militants seeing that Hudson could not reach the 
Nigerian President to undo Ebiere’s capital punishment, calls one of the
low-IQ militant, who excitedly announces that Ebiere Perema’s sentence
has been abrogated. There is however some lessons to be learnt in this 
portrayal of sheer zeal and hunger for the emancipation of the oil rich 
Delta from capitalist and corrupt government strangle-hold. Ebere’s
heroism and the resolve of the militants to repel injustice deserve some 
commendation as Western Oil and the Government are not to be trusted 
to renege on their words. Black November makes a simple statement, that 
in the light of oppressive regimes, the masses can only save themselves by 
engaging in team work as we see the strength and evolution with which 
the youths coordinated themselves and went deep in the creek. In the 



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course of time, the boys, following cash piled up over time from ransoms 
became emboldened to stockpile arms with which they ‘went to war’ as
attacks upon attacks became a common news item. The film indicates by 
its climactic plot, that it sets out to notify the world of Nigeria’s human
rights abuse and environmental degradations using a resistant modus 
operando as Governments and her capitalist interests does not understand 
the word-dialogue.  

Conclusion 

The study reveals that the template of most Nigerian films churned out 
fortnightly, lack attendant propaganda details and inherent power to tackle 
life challenging subjects. Given the critical issues espoused in Black 
November it is imperative to note how recent Nollywood films have taken 
the initiative by exploring core-communal and people oriented subjects on 
a monumental scale. At present, more indigenous movies have been 
screened at the cinemas with landmark and record breaking box office 
returns partially based on key concepts therein treated. The scope of their 
explored subject matter transcends the shenanigans of two village rats and 
the idea of a dirty girl called Dumebi should be the subject of a film. Issues 
of national and global importance are having centre stage in New 
Nollywood films which hitherto were deliberately ignored. This brings to 
the fore that New Nollywood films are addressing issues previously 
considered hard nuts to crack over funding constraints.    

The subject of terrorism as it stands poses a threat to the continued 
existence of the various peoples of Nigeria as a sovereign nation. When 
one considers the religious and ethnic difference which abound in Nigeria, 
issues such as the idea of marauding Fulani-Herdsmen and Farmers’ clash
look like subjects to steer clear lest one is labelled an enemy of the North. 
Yet it does not cease to baffle the masses how Government’s apathy and
indecisions helps to fuel the crisis at the expense of helpless indigenes of 
the Middle Belt. This brings us to the immediate failure of state 
governments at nipping terror in the bud in their various states. For 
example, there is nothing stopping a state government at legislating a law 
via its houses of assemblies to have an autonomous local police as the 
Federal body have proven largely incompetent. Here, the security votes of 
affected states can go a long way, if sincerely deployed, to address the 
nature of internal security of lives and properties. Despite the series of 
attacks on indigenous people, especially in Southern Kaduna, Plateau-Jos, 
Benue, Nasarawa and villages where land-grabbing bandits seek to 



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displace and possess their lands and ancestral homes. It follows that if 
Nollywood were to proffer solutions, a well-conceived idea to be executed 
cinematically should involve a pilot state which rejects the Federal 
Government’s Cattle Colony but invests heavily in its own Agricultural 
Crop and Animal Husbandries using European models of Cattle Ranches 
owned by indigenous people. This will greatly discourage the need for 
nomadic pastoralists from settling in peoples’ farm lands where over time,
they begin to lay claims to peoples’ land.  

A look at the so much talk about the attackers coming to kill and burn 
villages at night, a model film can be produced in which the state 
government allocates budgets in collaborations with her indigenes 
overseas as well as town unions to fund a functional satellite in the state’s
airspace for monitoring of any group of terrorists. To actualize this, all 
armed forces in the state will have their arms registered; all owners of 
licensed fire arms will have their weapons catalogued so that any foreign 
arms can be tracked at all open/closed state borders. While machine-
gunning people may not be the only method of genocidal campaigns used 
by these killers, the use of drones and satellite to monitor movements of 
people in most vulnerable places will assuage the pains which come with 
the heartless killings. What should be done would be to have every 
security post manned with enough man power and assault rifles, and while 
monitoring unverified movements of suspected bandits, alert a post of 
incoming movements so that unscrupulous elements are checked. In the 
light of the above, Nollywood films which propagate a secured family and 
nation in the case of overwhelming security breaches and loss of lives and 
property should be scholarly sanctioned. Times there are when taking up 
arms against the state looks like the best thing to do but in the long run, 
the demerits unleash more damages. Here, it is advised that Nollywood 
films should not only espouse the mundane but philosophically vibrant 
ideologies aimed at nation building, economic prosperity and a political 
vision capable of inspiring us to actualize a better society. Films should be 
used as a medium to speak truth and discourage injustice, not minding 
whether the proposition of supremacist agendas threaten our individual 
position, but the collective good. 

 

 

 



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Dobson, C. R Paine. The Carlos Complex: A pattern of Violence. London: 
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Elise, Silva. “Terror as Theatre’: Unveiling Spectacle in Post 9/11 Literature”.
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Kerber, P. “Urban Terrorism: Baseline Data and a Conceptual Framework”.
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Ismaila, R. Adedoyin. Theatre and Violence: The Dramaturgy of Violence in 
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Jenkins, M. Brian. International Terrorism: A New Kind of Warfare. 
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Laqueur, W. Terrorism and the Media: From the Iran Hostage Crisis to the 
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Spencer, Alexander. Terrorism and the Media. UK: Arts and Humanities 
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Weiman, Gabriel. New Terrorism and New Media. Washington, DC: 
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Weiman, Gabriel. “The Theatre of Terror: The Effects of Press Courage”,
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Filmography 
Amata, Jeta (Director). Black November. Nigeria: Wells and Jeta 

Entertainment, 2012. DVD 
 
 
 
 

 


