



































EVAIA: INTERNATIONAL JOURNAL OF ETHICS AND VALUES Volume 1, Number 1,  May, 2020


EVAIA: INTERNATIONAL JOURNAL OF ETHICS AND VALUES Volume 1, NO. 1,  July, 2020 

 

Onyemauwa and Akuchie                                                                                                                                                                                                                Page 139 

 

THEMATIC ISSUES IN SELECTED NOLLYWOOD MOVIES: A 

PARADIGM SHIFT FOR THE PROMOTION OF CHRISTIAN 

VIRTUES AND MORALITY 

 

Dr. (Mrs.) Veronica Uduak Onyemauwa1 and Rev. Fr. Raphael C. 

Akuchie2 

 

Department of Religious Studies Faculty of Humanities Imo State University, 

Owerri1 

Email: onyemauwav@yahoo.com; ralphaelakuchie1984@gmail.com  

 

 

Abstract  

Nigerian home video industry (Nollywood) without doubt has become a 

phenomenon in Nigeria, courtesy of television viewing. Nigerians, both at 

home or in diaspora, consume film avidly; scenes gleaned from films impact 

on their lives, reflect in their actions as well as everyday speech. The stories 

shared regardless of religious differences are increasingly not religious 

narratives, but rather movie plots. The lively discussion it inspires has become 

a more vital site of academic exploration. It also raises moral concerns, 

especially at the speed in which the moral and ethical life standards of 

Nigerians are plummeting on daily basis. However, the negative projection 

and reinforcement of obscene films by Nollywood is said to be the ‘prime 

suspect.’ Hence, premised on Gerbner’s cultivation theory, this paper 

examines thematic issues in three selected Nollywood movies with the aid of 

phenomenological research model. Findings indicate that: these movies 

among several films projected by Nollywood are to some extent bereft of 

sound moral rectitude, as there is clear display and celebration of violence, 

ritualism, prostitution and witchcraft. Hence, this study advocates for a 

paradigm shift as such movies distort and subvert human values. Therefore, 

film makers and film censor’s board should work to decrease the rate of 

vividness of negative exposition of vices in film plots. Christian films should 

be used to counter some of the negative tares currently making waves in 

Nollywood movies. Projection of movies that teaches and encourages 

permissible good behaviour within the society should be promoted. To do 

otherwise is unethical. 

 

Keywords: Thematic; Issues; Nollywood Movies; Paradigm Shift; 

Promotion; Christian Virtues/Morality 

 

 

Introduction 

The moral importance of entertainment is something that is universally 

recognized. For, it enters intimately into the lives of men and women and 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 140 

 

affects them closely. It occupies human mind and heart during leisure hours; 

and ultimately touches the whole of their lives. A man may be judged by his 

standard of entertainment as easily as by the standard of his work. So, correct 

entertainment raises the whole standard of a nation. Wrong entertainment 

lowers the whole living conditions and moral ideals of a race (The Motion 

Picture Production Code of 1930). This statement is succinctly captured in 

Proverbs 14:34, “righteousness exalteth a nation: but sin is a reproach to any 

people.” 

 

The advancements in modern technology has however made electronic 

medium one of the vital channels of dramatic and entertainment expression. 

Thus, technological development, especially in communication, has reached 

such advanced stage that the world today is said to be a global village. In fact, 

the efficacy of all human action is now based on sound communication 

powered by modern technology. Since humans mostly believe what they see 

and hear the communication or dissemination of knowledge in the modern 

world is now based principally on the auditory and visual stimuli. Hence, most 

promotions, educational and social communication are done via media 

channels. The most active of such media channels is the film because of its 

added entertaining features. As such, film has become a major vehicle for 

imparting ideas, ideals, norms and beliefs. 

 

Today, film (media) is said to be modern man’s leading religion. In this 

context, the Nigerian Film Industry (Nollywood) readily comes to mind. For, 

barely more than a decade, Nollywood commands a household name. It also 

commands a very large and active audience within and outside Nigeria; and it 

covers every aspect of the Nigerian society. Most people indeed spend their 

leisure times watching Nollywood films.  

 

However, motion pictures (film) impacts on human psyche and emotions. 

Referring to this, Mgbejume (2015:36) explains;  

Motion stories are creatively written to work on the emotions of 

viewers. Emotions, when worked, could lead to rage of anger, 

bitterness, revenge, various anti-social behaviours, and all kinds of 

excitements, encouragement, determination to live on despite the odds 

of life and the will to succeed in life. All these can come through 

watching actors and actresses on the screen. 

 

Adding to this, communication theories for years have attempted to draw 

conclusions between a person’s attitudes and behaviours and the media 

products they consume. Social Learning theory also holds the idea that people 

will imitate the actions and attitudes of those seen on television or in film. On 

this note, Baran and Davis (2006:195) comment that, humans learn from 

observation. There have been some questions, however, about how much and 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 141 

 

what kinds of behaviours people learn from the media; especially as morality 

today is increasingly on the decay and Christian ethics which propagate ideal 

virtuous life and human relationship is speedily waning.  

 

Consequently, there is concern in several quarters about the rate immorality, 

breakdown of law and order are making waves in the society. This is of course 

not unconnected with behaviors people imbibe from Nollywood movies. 

Indeed, most observers believe that the rise in crime wave and immorality is 

as a result of the influence of movie contents powered by advancements in 

communication and technology. Along this line, Nollywood films, like Living 

in Bondage (Parts 1&2), Glamour Girls (1 & 2), Issakaba, and so on, have 

been rated for propagating crime, violence and other immoral acts. This is as 

immoral acts; robbery, kidnapping and violence glorified on their scenes are 

replicated by viewers in real life. Truly, the increase of profanity, sexual 

immorality, and violence in Nollywood movies provokes the right thinking 

public. Filmmakers in defense argue that it is merely a representation of the 

society. This argument indeed remains unacceptable to the majority of the 

right thinking public. Hence, many campaigns in the society today are geared 

towards curbing immorality and vices staged in Nollywood movies. Despite 

this, the situation created by Nollywood movies still calls for serious concern. 

This concern necessitates this study which aims at proffering solutions that 

would encourage Nigerian movie producers to project films that are loaded 

with moral values and godly virtues for the common good of all.  

 

Conceptual Frame Work 

There are some major concepts to be clarified in this study. Such clarification 

is essential as it enables the readers to understand how these variables connect 

with each other. 

 

Christian Virtues as a Concept 

Christian virtues are reflection of God in the lives of Christians. Virtue can be 

said to mean moral excellence, goodness or righteousness. Christian virtues 

can be described as a Godly excellence, a Godly goodness and a Godly 

righteousness that is reflected in the lives of believers. 2nd Peter 2:9 advises 

us that we are chosen to be virtuous: “But you are a chosen race, a royal 

priesthood, a holy nation, a people for his own possession, that you may 

proclaim the excellences of him who called you out of darkness into his 

marvelous light.” So, by meditating on Christian virtues, Christians will start 

practicing them. Philippians 4:8 gives us advice to always think on virtuous 

things (“Christian Virtues.” 2019). 

 

The Concept of Morality 

The word “moral” comes from the Latin word ‘mores’, ‘moralis,’ which 

means “proper behaviour of a person in the society” (De Fato, Ii.i).  



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 142 

 

According to Echekwube (2005:32) morality is the principles concerning right 

and wrong or good and bad in behaviours. By implication, it is a subsystem of 

deliberation about what we ought to do. Morality bases its judgment on the 

rational nature of man and his final destiny which makes his actions morally 

right or wrong. 

 

Nollywood 

The term ‘Nollywood’ was coined by the New York Times journalist, 

Norimitsu Onishi in 2002 when he observed film-making activity in Lagos, 

Nigeria. The term mirrors two of the most famous areas of film production: 

Hollywood in the USA, and Bollywood in India's Bombay. It is the generic 

name for the Nigerian film industry. Nollywood specifically refers to the 

Nigerian video-film industry. It originated in Nigeria at the end of the 20th 

century as a national media form that emerged free from the control of the 

state and has subsequently become the most visible cultural machine on the 

African continent. For some, Nollywood encapsulates the array of actors and 

actresses emerging from the film-making activity in Nigeria. For others, it 

refers to the collection of the thousands of movies that have been made in 

Nigeria. 

 

Statement of the Problem 

The boom in home video production and the corresponding audience interest 

have attracted a lot of attention to the sector. A lot has been said and written 

on these thematic issues, with special emphasis on sex, violence, fetishism and 

other negative tendencies. In spite of these criticisms, new filmsare daily 

released into the market thus necessitating this study, especially as fear looms 

heavily in the mind of many about the possible results of the incursion of the 

seductive, obsessive, violent, compulsive and enticing visual images 

Nollywood emits into the minds/hearts of the audience.  

 

This reality however raises pertinent moral questions such as; why do 

Nollywood produce obscene videos even when most of the crew members; 

actors and actresses are Christians? What sort of influence do audiences who 

are morally conscious get from negative scenes? How do Nollywood movies 

promote theological virtues of faith, hope, and charity (love) that relate 

directly to God, as well as the four cardinal virtues of prudence, justice, 

fortitude, and temperance? These are the problematic issues which this paper 

as well wishes to address. 

 

Thematic Issues in Nollywood Movies and the Question of Morality 

Video is one of the most potent art forms for entertainment and pedagogy. 

Being an audio-visual medium of socialization, it is capable of shaping the 

shared views, beliefs and values of a particular human society. Thus, the 

arbitrary consolidation of disparate cultures into one whole – the global 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 143 

 

culture – portends danger to the moral codes of any society. Through ethical 

lenses, this section assessed the moral compass of Nollywood films, using 

Living in Bondage (Parts 1&2), Glamour Girls (Parts 1&2), and Issakaba 

(Parts 1 &2), as cases in point. The focus is on film-makers’ recent obsession 

with quasi-themes, marked by obscenities and debauchery, with blatant 

disregard to moral laws. 

 

(1)     Living in Bondage (Parts 1 & 2) 

Living in bondage is a classic Nollywood movie that tells the story of money 

ritual.  It’s a 1992 drama thriller directed by Chris Obi Rapu, written by 

Kenneth Nnebue and Okechukwu Ogunjiofor, produced by Okechukwu 

Ogunjiofor and sponsored by Jafac Wine. The film starred Kenneth Okonkwo 

and Nnenna Nwabueze in their breakout roles. Living in Bondage provided 

imagery to a widely believed urban legend: human sacrifice for riches. Andy 

(Kenneth Okonkwo) and Merit Okeke (Nnenna Nwabueze) are a young 

couple facing several obstacles; redundancy, infidelity, loss savings in a bogus 

investment and Merit's indecent proposals from lecherous men including her 

boss Ichie Million (Francis Agu). Andy constantly compares his lack of 

fortune to the success of his peers, especially his best friend Paul (Okechukwu 

Ogunjiofor). Despite Merit's support and patience, Andy is driven to near-

desperation, determined to obtain wealth by any means possible, and the slick-

talking Paul reveals his secret – a satanic cult where members swear their 

loyalty to Lucifer and kill their loved ones in ritualized sacrifices that amount 

toenormous wealth. After much hesitation, Andy reluctantly agrees to 

sacrifice the person he loves the most – Merit. She dies in hospital days after 

the ritual, but not before she curses her husband for his betrayal.  

 

Andy's sudden affluence raises suspicion from Merit's family who accuse him 

of murdering her for money. He also faces a new set of problems – the 

paparazzi, his mistress Ego (Ngozi Nwosu) fleeing with his money after he 

collapses at their wedding, and Merit's ghost haunting and terrorizing him 

when he least expects. Andy later married Chinyere (Jennifer Okere); another 

gold-digger introduced to him by Merit's former friend Caro (Ngozi 

Nwaneto). This new wife meets her untimely death after Caro poisons her in 

an attempt to escape abroad alone with the cash she (Chinyere) had stolen 

from her husband (Andy). Caro is also killed by a hit-and-run driver on her 

way to the airport, and Paul is murdered by hitmen Andy hired after the two 

friends fell out with each other.  

 

A now frustrated Andy asks the satanic cult for help, but when the Chief 

Priest (Daniel Oluigbo) insists he can only pacify his late wife's spirit by 

blinding and castrating himself. He refused but becomes mentally deranged, 

living as a vagrant under a Lagos flyover until Tina (Rita Nzelu);a former 

prostitute Andy had previously presented to the cult as a decoy before his 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 144 

 

deceit was exposed takes him to her church where he finally confesses to 

Merit’s murder. In the final scene, Andy was cured of his insanity but he 

became a member of the evangelical Christians who assure him God has 

forgiven him.  

 

Moral Issues in Living in Bondage (Parts 1 &2) 

The film: Living in Bondage promotes excessive passion for wealth regardless 

of how it is gained. This has become a very common tainting feature of 

contemporary Nigerian society. However, the delay in effecting justice 

displayed in the film is akin to justice denied. This influence is today seen in 

Nigerian society where justice and moral compensation is delayed and by the 

time it is rarely executed its meaning and weight is lost. Indeed, the viewer, 

having been exposed to such glorification of wealth gets the impression that it 

is better to be a king in hell than a servant in heaven. Furthermore, it is worth 

mentioning that, the length of time spent in the movie on displaying ‘the good 

life’ that comes with ill-gotten wealth, is enough invitation for viewers to 

pursue illegitimate wealth. The eventual Divine forgiveness Andy was assured 

of after his confession is also an indication that one’s sins can easily be 

forgiven through confession. 

 

(2)    Glamour Girls (Parts 1 & 2) 

Released in 1994, Glamour Girls featured Liz Benson, Gloria Anozie, 

Jennifer Okere, Barbara Odoh, Ngozi Ezeonu, Eucharia Anunobi, Tina 

Amuziam, Zack Orji, Pat Attah and Sola Fosudo. It was written by Kenneth 

Nneube, and directed by Chika Onukwufor., Glamour Girls centered on 

female protagonists and the ‘fast lives’ they lived. Glamour Girls is the story 

about a village girl, played by late Jennifer Ossai, who was convinced by her 

friend (played by Gloria Anozie) to come to Lagos and get a job in order to 

live a better life. Throughout the movie, we are introduced to different 

subplots which drive the theme of the movie despite being unrelated to the 

main characters in the movie. 

 

The theme of the movie was mainly greed, women’s greed for material things. 

This is evidenced in Liz Benson’s character; who was although married but 

was ready to give her marriage up for the promise of becoming the first lady 

of Nigeria. She was later duped by her lover who was a dream peddler with a 

phony accent.  

 

The movie Glamour Girls is a promotion of modern women also referred to as 

‘senior girls’. According to Jonathan Haynes (2009:83), these were 

independent women who have chosen careers over marriage, and overtly 

pursue their own sexual interests. They are sophisticated, independent, free 

and supposedly ‘outside the control of patriarchy.’ As such, the movie is 

replete with sexual immoralities, obscenities, betrayal, greed and theft. 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 145 

 

Indeed, Glamour Girls was a deviation from the stereotypical themes of 

rituals and family squabbles. Rather the focus was to display the profit of 

illegitimate sex, power and fame. This is quite obvious in a number of 

memorable moments the characters; Zach Orji and Eucharia Anunobi shared 

in the bathroom scenes. Both characters posed topless in the bathtub frolicking 

with each other while Anunobi who was dubbed Nigeria’s Sharon Stone, 

delivered an impressive performance devoid of any inhibition or self-restraint. 

 

(3)      Issakaba (Parts 1 & 2) 

Issakaba is a four-part film produced by Chukwuka Emewonwu and Moses 

Nnam. It was directed by Lancelot Oduwa Imasuen and starred Sam Dede, 

Amaechi Muonagor, Mike Ogundu, Pete Ene, Chinwetalu Agu, Remy 

Ohajianya, among others. The part one of the film centres on a typical Nigeria 

village (Uwenu) where crime is at its highest peak, with innocent villagers 

being oppressed, robbed and killed for ritual purposes. Then a vigilance 

group, led by Ebube (Sam Dede) is invited by the village king (Amaechi 

Muonagor) to help restore peace and sanity in Uwenu community. The 

Issakaba points a finger of guilt at some children of the elders, including the 

king’s son. The part one of the film ends with the arrest of a notorious armed 

robber, “Terror of the night” and his gang and the death of a very powerful 

native doctor, Ikuku. 

 

In part two, the Issakaba continue their exploits in another village, Oshata on 

the invitation of the king (Remy Ohjianya). The vigilance group was able to 

reduce crime to its barest minimum through the assistance of their overall 

leader (Ikenga). Later, a disagreement erupts between Ebube and the second-

in-command Woke (Mike Ogundu) over an allegation of bribe that is 

collected by Woke. Woke is expelled from the group, but decides to form a 

fake Issakaba to continue his crooked “deals” and tarnish the reputation of the 

real Issakaba. He succeeds at floating the splinter group because of the 

financial assistance from some corrupt elders who see the real Issakaba as a 

threat to their nefarious activities. However, Woke and his fake group commit 

a lot atrocity in the village and the people mistake them for the real Issakaba.  

The story comes to a climax when a prominent man, Chief Odiachi dies in the 

hands of the fake group, prompting the villagers to send the real Issakaba 

away from the village. In the end, Ebube, through some mystical means, is 

able to kill Woke and members of his fake vigilance group. 

 

Moral Issues in Issakaba (Parts 1 & 2) 

Apart from portraying robbery as business, the video employs the use of 

excessive blood-letting and violence, and could serve as training instruction 

for criminal minded people.The video also elevates the use of fetish herbalist 

who provides some form of protective vest for the criminal. Nothing in the 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 146 

 

film points to condemn the practice of robbery or presents crime as a 

condemnable vice. 

 

Exploration of Violence and Sexual Immorality in the Appraised Movies 

Having synopsized and analyzed moral issues in the above selected 

Nollywood videos, we would proceed to explore the dimensions of violence 

and sexual immorality in these movies. Issakaba, and Living in Bondage are 

characterized by levels of violence that are verbal, physical, herbal and visual. 

i. Verbal violence  

This involves the use of spoken words or language as opposed to pictorial 

representation or physical action in the communication of violence. Most of 

the incantations/guttural statements, vituperative and abusive expressions in 

the selected movies constitute the verbal dimension of violence. Bawdy 

words/expressions such as “fuck you”, “mother fucker”, “shit”, voodooist 

incantations such as “odechi”, among many others, are also part of verbal 

violence. Moreover, because people especially the young ones easily grasp 

things orally they tend to take to the foul language they see Woke and others 

freely use in Issakaba. 

ii. Physical violence/Tactile violence 

This form of violence in the selected movies involves physical/bodily contacts 

and often leads to physical harm. For instance, there are a lot of scenes where 

cars were driven at neck breaking speed with tires screeching to high heavens 

as if life has a duplicate. This scenario depicts physical violence. The 

innumerable physical clashes involving the use of machetes, guns and cudgels 

among the Issakaba groups (the real and the splinter groups) and the various 

armed robbery gangs in Uwenu and Oshata villages are evidences of the 

barrage of physical/tactile violence in the selected videos.  

iii. Herbal violence 

There is a preponderance of herbal violence in Issakaba like many other 

Nollywood movies of their ilk. Herbal violence in the context of the films 

under examination, involves the use of plant-based substances (leaves, barks, 

roots, charms, potions, etc.) to cause harm, inflict pain or control people to do 

the bidding of others. In Issakaba, we see instances where Ebube pluck certain 

leaves, chew them and spew their solvents in the air to retard the movement of 

criminals and rivals. In part one of the same film, Ikuku, who was complicit in 

the series of terror that were visited on the people of Uwenu, severally used 

plant based concoctions, charms and strange incantations that smacks of 

witchcraft to fortify the armed gangs before they embark on any robbery 

operations. These plant-based fortifications originally had their function in 

pristine traditional African society. Ogie-Odia and Omoera (2010:56-57) 

affirm that “the Benins (an African race) believe that certain plants have very 

strong spiritual aura which make them play important role in traditional 

society.” 

 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 147 

 

iv. Visual violence 

This has to do with what appeals to the sense of sight. The outfit of 

Nollywood actresses in the selected movies like Glamour Girls is overtly 

sensuous. They wore skimpy clothes, exposing sensitive parts of their bodies 

in order to lure randy men and eventually use them to feather the nests of their 

devious activities. These indecent dressings, nudities, pornography and sexual 

allurements constitute visual violence, sexual immorality and harassment to 

the audience, and raises moral questions against Nollywood industry. It again 

subverts Christian virtues and morality, offends the sensibilities of the decent 

public and endangers their part to righteousness. This is why Chinedu 

Ogbozor (2000:78) in his work; Contemporary films: A clearer vision of the 

Modern Bathshebas avers that;  

These films are dangerous weapons which will dethrone God from 

human hearts. It is a Trojan gift which will eventually not only give 

birth to sin but also legalize crime and fuel the fire of lust. It is a 

hydra-headed evil. It is not that the home video is intrinsically evil but 

the current trend smacks of something leading to the valley of 

destruction. 

Supportive of this position, Clor (1996:33) observes that: 

The new liberalism has become a prodigious source of challenges not 

only to legal proscriptions of ‘vice’ but also established norms 

attitudes and policies in many areas of our social life. Public morality 

is very much on the defensive. 

Despite the visual violence constituted by these movies, actors and actresses 

have their defenses. For instance, Eucharia Anunobi argues;  

I don’t care about what they write …They say Eucharia loves to act 

naked, to wear skimpy dresses … Acting is just a profession …They 

see me playing a role … acting. That’s what it is … nothing more” 

(Reel Stars, 1999:16). 

 

Ethical Consideration - Towards Promotion of Christian Virtues and 

Morality in Nigeria through Nollywood Movies 

There is something akin to a situation of ethical chaos as far as making moral 

statement about the Nigerian home-video. One school of thought is of the 

opinion that the activities of the theatre are not moral issues and should not be 

subjected to the conventional moral scrutiny. Another school holds the view 

that the issues are both ethical and of public concern. Thus, this section 

attempts to address the various ramifications of the problem, with the aim of 

proffering solutions. 

 

Moral Imperatives 

What emerges from the people’s verdict is a broad spectrum of feelings, of 

fears and hopes, beneath which lies a desire for whatever will bring progress 

morally and otherwise to the Nigerian populace. There seems to be a common 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 148 

 

acceptance of a momentous change in progress and an effort to find a place in 

the change. Kelly (1992:26) aptly articulates the mood in his assertion that: 

The important question, therefore, is not ‘Why is change necessary?’ 

But how we can affect and manage change so that it will be beneficial 

to us as human persons and to our planet as a whole. Not all changes 

are transformations. Some changes can be deforming rather than 

transforming. 

The home-video industry as an emerging phenomenon cannot be left to the 

wind of chance. So much has taken place but it is still an unfinished story 

involving human persons. As responsible agents of moral construction, the 

social process of helping to give a proper direction to the home movie 

industry cannot be taken lightly. It is not a task for the secular society alone; 

the Church completely associates herself with such moral and existential 

matters, which touch upon human life. One of the arguably most quoted 

statements of the Church’s social teachings is her declaration that: 

The joy and hope, the grief and anguish of the men of our time, 

especially those who are poor or afflicted in any way, are the joy and 

hope, the grief and anguish of the followers of Christ as well. Nothing 

that is genuinely human fails to find an echo in their hearts. (Vatican 

Council II Gaudium et spes, no 1). 

It is against this background that this segment appeals to all who are affected 

by the Nigerian home movies to embrace the task of directing the industry 

towards ends that are proper to the dignity of the human person. The 

responses to the challenges of the movie industry must be seen as moral 

imperatives which should receive prompt attention. The principal addressees 

are the government, the Church, the school and the family not only because of 

their traditional role in the preservation of morality but also because within the 

Nigerian context, they play vital roles with regards to the movie industries. 

 

The Role of the Family 

In the ever rising wave of conflicting immoral forces at play in the home 

video industry, the family as the smallest cohesive unit of human social 

organization, has a vital role to play in the lives of the young ones. Parents, 

like teachers, must try to lead their children by means of a complete 

education, to proper mental, affective and moral maturity (Persona Humana 

no. 13) Towards attaining these, Pat Pulling in Thomas (1989:98) advices 

Parents to continue encouraging their children in the family’s religious faith, 

to keep close watch on their activities, the friends they choose, the music they 

listen to, the movies they watch and the games they play. Paling’s advice 

presupposes that the family has a religious anchor to which the children can 

be trained by their parents. Supervision is absolutely necessary and care must 

be taken in imparting instructions especially on matters of sex and violence 

since, in the words of Canon Mahoney, “evil practices are the effect not so 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 149 

 

much of ignorance of intellect as of weakness of a will exposed to dangerous 

occasions and unsupported by the means of grace” (Smith, 1941:11). 

 

The training of children must begin from their early days so that as they grow 

up and begin to think and will, they have with them a good parental will, 

constant and strong, free from violence and anger, not subject to weakness or 

inconsistency. With time they will learn to see therein the interpreter of 

another and higher will, the will of God and so will bring to fruition the seed 

of those early training that they have received. They will thus be able to 

fashion and sustain a character trained in self-control in moments of crisis, 

and stamped with a deep sense of Christian duty.  Although it is through the 

media that young people are introduced to many immoralities, it is very true 

that what the child sees or does not see in his/her parents go a long way to 

determine the choices he/she makes when the parents are not present. When 

the children see the adult members of the family modeling themselves after 

the images of the media, they will follow suit because the life style of the 

older members of the family is the final confirmation of the validity of the 

media images. 

 

The Role of the Church 

The universal Church, aware of the crucial role of the media in human society, 

acknowledges the great power that those who use the media exercise over 

people. It recognizes that the media contribute a great deal to human unity but 

that without goodwill their use may produce an opposite effect and even 

contradict or corrupt the fundamental values of human life. The Second 

Vatican Council in recognition of these promulgated Inter Mirifica, (Decree 

on the Means of Social Communication in 1963). The Council charged those 

responsible for the media to get familiar with the principles of the moral order 

and to apply them faithfully in this domain (Communio et progression, 

1971:9). The Council gave orders for the preparation of a more extensive 

instruction on the media. This came out in 1971 as Communio et Progressio. 

Following in the same tradition, Pope John Paul II, in his message for the 27th 

World Communication Day, May 23, 1993, reiterated that: The professionals 

who rate at their true value the impact and influence of the media productions 

they create will take particular care to make them of such high moral quality 

that their effect upon the formation of culture will invariably be a positive one. 

They will resist the present lure of easy profit and will firmly refuse to take 

part in any production which exploits human weakness, offend conscience or 

affronts human dignity. The Church in Nigeria must appropriate these words 

of the Pontiff and continue to re-echo them from the pulpits and religions 

should themselves be discriminatory consumers of the products of the video 

industry. A merely censorious attitude on the part of the Church towards the 

industry is neither sufficient nor appropriate. Instead, the Church must be 

engaged in a continuous conversation with the Censors Board and the whole 



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gamut of mechanism in the home video industry to encourage or to criticize as 

the need arises. This indeed is at the very message which pulsates in Kinoti’s 

(1999:87) reassertion of the Church’s obligation of moral restoration in 

Africa: The Church in Africa cannot shy away from the responsibility to call 

people to repentance, to set an example in moral integrity and to teach people 

the message of God who understands human frailty and is willing to heal 

wholly. 

 

The Role of the Government 

It took the Nigerian government quite some time before it picked up interest 

in the activity of the movie industry. When in1994, the Nigerian Film and 

Video Censors Board was inaugurated, the principal target was monitoring, 

regulating and controlling the industry as a means of revenue for the Federal 

Government. Subsequently, certain films were banned from circulation and 

the Board underwent a re-organisation (Ademola, 1996:59). The Censors 

Board as the government’s presence in the industry must not only publicly 

declare guidelines on the operations of the industry but must also ensure that 

producers, movie houses and television stations abide by such guidelines. 

These cannot be compromised if some degree of order must reign in the 

industry. 

 

The Role of the School 

More than 75% of the total numbers of the consumers of the movie are 

children and youths who are still in school. The schools can therefore serve as 

a dependable instrument in directing the consumption of Nollywood movies. 

To this end, educational instructors at all levels must always keep before their 

eyes the noble ends of education as we find enumerated by Okolo (2000:124). 

One of the crucial roles of education is a critique and reconstruction of 

people’s values. For if education, in its simple and non-sophisticated meaning, 

is a transmission of what is worthwhile to a people to equip them for life; and 

if values are things worthwhile; then its role of criticism and as a tool for 

reconstructing values becomes paramount. The schools provide a context 

where the highly impressionable minds of the young can be fed with the right 

values for life. It is not an overstatement to say that the school is the 

gymnasium where the society can equip the youth to avert the moral crisis to 

which Yoweri Museveni; President of Uganda drew attention to at the 10th 

Plenary Conference, when he called for radical action. , He said: There is 

today a moral crisis which calls for a moral revolution. The young are 

especially susceptible to evil influence particularly when they lack leadership. 

This is what has happened to our youth… I think we have tended to neglect 

the spiritual development of our young people with the consequence that a 

vacuum has been created in the minds and souls of our youths – a crying need 

for a sense of direction (Yoweri 2000:31). It is in the school and the family 

that the child can be properly equipped to face the moral crises of today’s 



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world. The role of the teacher can therefore not be over-emphasized. The 

teacher is the molder of the child’s character but he needs the support of the 

entire society because the task is enormous and multifaceted. In this regard, 

the researcher agrees with Obidike (2013:136): It will be expecting too much 

from the classroom teacher to inculcate the desired and respectable values in 

the children when the generality of the people is engaged in negative and 

subversive values. In order for the teacher to discharge that kind of work 

expected of him or her, there should be a programme of value re-orientation 

for all Nigerians. In the interplay of forces, which shape the child’s mind, the 

schoolteacher occupies a key position. This should be duly recognized and 

exercised in guiding the youth about the media, in this case, the home video 

movies. 

 

Recommendations and Conclusion 

This study has examined thematic issues embedded in Nollywood movies and 

canvasses for a paradigm shift for the promotion of Christian virtues and 

morality. The major point of criticism has been in the area that the films are 

pointedly a celebration of violence, ritualism, prostitution and covert 

hooliganism. This does not however, mean that, moral compensation does not 

indeed exist in Nollywood. It exists, but by the time it will occur, its impact 

would have been grossly weakened. On the issue of censorship, it is shown 

that both the artist and the society need one another, and that both are 

concerned with the well-being of the society though with different objectives. 

The function of art in society is to leave it better than it was, and artists have 

the moral obligation to make a positive statement about society, not to 

glamourize the wrongs as they are. Hence, in summation, we suggest that in 

order to have a rich harvest of movies that provide aesthetic pleasure and 

moral satisfaction in tandem with Christian virtues: (i) each film should 

function as a complete event and that any form of immorality and crime 

committed in a film should be morally compensated and paid for immediately 

before the end of the film and if it fails to do so, let the gains from the crime 

be seen as  problematic from the outset, (ii) crime/vice should not be 

glamourized, (iii) The time frame allocated for the exposure of negative 

scenes should not supersede that of positive scene (iv) Christian virtues and 

morality must not be subjected to ridicule, (v) sex should not be misused, and 

(v) censors should know the techniques of cinematography and be grounded 

in the principles of ethics and human values (vi) Finally, Christian 

organizations and educators in institutions of learning have an imperative 

beyond merely fostering media literacy. The long-standing, hallowed tradition 

between Church, schools and art invites us to harness the sensual powers of 

films’ images, music, and narrative to help our students and the entire 

consumers of movie productions glimpse aspects of God that can be revealed 

most powerfully through art. This approach has the potential to transform 

most subsequent profaned films production and viewings into opportunities 



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Onyemauwa and Akuchie                                                                                                                                                                                                                Page 152 

 

for unleashing grace in strange and wonderful ways; thereby promoting 

Christian ethics and morality. 

 

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