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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
The book is a study of contemporary Hausa film from three West African countries. It compares their features, production contexts and themes. The book also reviews the strengths and weaknesses of the West African Hausa Film Industry and made appropriate recommendations on how to overcome identified challenges. The study adopted Baudru's Apparatus Theory, which posits that cinema consists of camera, projector and the screen by which it interrogates society. Ten Hausa video films were purposively selected for their textual, thematic and cultural features: Amaliya, Uwar Miji, Da kishiya gida, Basma (Nigeria); Angama, Zaman Aure, Kishin Kishiya (Ghana); Gidan hajiya, Zaman daya, Nadiya (Niger Republic). Data were subjected to critical analysis.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
The book is a study of contemporary Hausa film from three West African countries. It compares their features, production contexts and themes. The book also reviews the strengths and weaknesses of the West African Hausa Film Industry and made appropriate recommendations on how to overcome identified challenges. The study adopted Baudru's Apparatus Theory, which posits that cinema consists of camera, projector and the screen by which it interrogates society. Ten Hausa video films were purposively selected for their textual, thematic and cultural features: Amaliya, Uwar Miji, Da kishiya gida, Basma (Nigeria); Angama, Zaman Aure, Kishin Kishiya (Ghana); Gidan hajiya, Zaman daya, Nadiya (Niger Republic). Data were subjected to critical analysis.