A STUDY OF THE IMPACT OF VIOLENT VIDEO FILMS ON JUNIOR SECONDARY SCHOOL STUDENTS IN ORBA AND ISIENU IN ENUGU STATE.

A STUDY OF THE IMPACT OF VIOLENT VIDEO FILMS ON JUNIOR SECONDARY SCHOOL STUDENTS IN ORBA AND ISIENU IN ENUGU STATE.

ABSTRACT

The involvement and exhibition of violent behaviour by some children in the recent time is adjudged alarming and deteriorating day by day. Again school children indulging in cult practices, causing chaos in school environment resulting in expulsion due to these deviant behaviours is in the increase. Thus, the research investigates the impact of violent video films on junior secondary school children in selected urban areas of Enugu State. Moreso, the research analyzes the respondents’ perception of the three selected video films to evaluate their views on how these video films influence their mindset.  In this regards, two secondary schools consisting of forty junior secondary students of the age of 12 to 14 of St. Joseph’s College Orba and fifty junior secondary students of Community Secondary School Isienu were randomly selected for the research. The student’s parents numbering Fifty five, as well as their teachers numbering Thirty five were selected for the study. The study adopts Kai Thailer Mixed Method and Harold Lasswell Media Content Analysis methodologies for information gathering from the selected schools through the use of questionnaires and interviews. Again the study uses previous research publications on related subject matter and reviewing of the selected video films. The study also employs Albert Bandura’s Social Learning theory and George Gerbner’s Cultivation Theory as its preferred theoretical framework. On the outcome, the research observes that violent behaviours by junior secondary school children are partly as a result of the varied exposure to violent actions.

 

 

 

 

 

 

 

 

 

 

TABLE CONTENTS

Title Page——————————————————————————————- ii

Approval Page————————————————————————————–iii

Certification——————————————————————————————iv

Dedication——————————————————————————————–v

Acknowledgements ———————————————————————————vi

Abstract ———————————————————————————————viii

Table of Contents ———————————————————————————-ix

CHAPTER ONE: GENERAL INTRODUCTION

• Background to the Study————————————————————————1
• Statement of Problem—————————————————————————-3
• Research Questions——————————————————————————-4
• Objectives of the Study—————————————————————————4
• Significance of the Study————————————————————————-5
• Limitation of the Study—————————————————————————6
• Delimitation of the Study————————————————————————-6
• Research Methodology—————————————————————————-7
• Theoretical Framework—————————————————————————-8

CHAPTER TWO- REVIEW OF RELATED STUDY

2.1 Preamble ——————————————————————————————12

2.2 The concepts of Violence and its Impact on the Society———————————–12

2.3 The Media and its Contents———————————————————————16

2.3.1 Media Violence and the Child—————————————————————-19

2.3.2 Conceptualizing Media Literacy————————————————————-21

2.3.2.1 Levels of Media Literacy Skills—————————————————————22

2.4 Nigerian Video Film, its Contents and Impact on the Society———————————24

2.5 Cognitive Psychology and Influence of Violent Films on Children————————–30

2.6 Culture and How Children Cultivate Values—————————————————–34

CHAPTER THREE- SYNOPSES AND SCENES OF VIOLENCE IN RETURN OF SHINA RAMBO, ALOBAM AND CHILDREN OF BABYLON

3.1 Preamble———————————————————————————————–40

3.2 Return ofShina Rambo——————————————————————————40

3.3 Alobam————————————————————————————————-44

3.4 Children of Babylon———————————————————————————-47

3.5 Scenes of Violence in the selected Nigerian video Films—————————————–55

CHAPTER FOUR – DATA ANALYSIS, PRESENTATION AND PORTRAYALS OF VIOLENCE IN THE SELECTED VIDEO FILMS

4.1 Preamble———————————————————————————————–67

4.2 Demographic Information of Samples Students————————————————-68

4.3 Demographic information of the Parents Sampled———————————————-68

4.4 Viewing of the Selected Video Films————————————————————-69

4.5 Viewing of Action/Violent Video Films ———————————————————70

4.6 Viewing Nigeria Films in other Platform———————————————————71

4.7 Frequency of Nigerian Video Film Viewing—————————————————–72

4.8 Parents who watch Video Films with their Children ——————————————-73

4.9 Influence of Nigerian Video Films on Children ————————————————74

4.10 Analyses of the Portrayals of Violence in the Selected Video Films—————————75

4.10.1 Use of Language in Shina Rambo, Alobam and Children of Babylon————————75

4.10.2 Portrayal of Violent Characters in Return ofShina Rambo, Alobam and Children of            Babylon———————————————————————————————–78

4.10.3 Prevalence of Violence in the themes of the Video Film ShinaRambo, Alobam, Children   ofBabylon——————————————————————————————–81

4.10.4 Acculturation in ShinaRambo, Alobam and ChildrenofBabylon—————————-82

4.11 Consequences and Implications of Violent Video Films on School Children —————83

CHAPTER FIVE – SUMMARY, CONCLUSION AND RECOMMENDATION

5.1 Summary————————————————————————————————85

5.2 Conclusion ———————————————————————————————-87

5.3 Recommendation————————————————————————————–88

Works Cited ————————————————————————————————90

APPENDICES ——————————————————————————————-102

Appendix A – Letter of Identification——————————————————————-102

Appendix B – Questionnaire——————————————————————————104

Appendix C – Pictures from field survey—————————————————————-107

 

CHAPTER ONE

GENERAL INTRODUCTION

1.1 Background to the Study

Nigerian video film stands to be the most readily available means of entertainment and offers a great deal of interesting action filled stories. People especially children enjoy sitting before the screen to view all manner and kinds of films to satisfy their fancy. Before the outshoot of the Nigerian film industry in the 1900s, films were used by the Colonial masters to propagate and project their culture, belief and lifestyle which were in total contrast with Nigerian culture. Since film is a fascinating and captivating art form and equally a medium of passing across information, enlightening, and educating people, some Nigerian writers and individual film producers and performing art graduates came together to produce their own film.

Consequently, the inception of filmmaking in Nigeria in the late 1980s was geared towards the use of films to propagate the culture, tradition, disseminate information and sensitize the people. However, in recent time the fact remains that the concepts of some of the Nigerian video films contain more messages that portrays deviance and anti-social behaviours as some of the Nigerian video films are characterized by violence. Thus, the excessive projection of violence in video films and other platforms such as satellite, internets, and cell phones among others influences the audience especially children who are not able to construe reality from fiction. According to Mona Moore, Novas Res defines violence as

An aggressive behaviour that may be physically, sexually or emotionally abusive. The aggressive behaviour is conducted by individual or group against another, or others. Physically abusive behaviour is where a child, adolescent or group directly or indirectly ill-treats, injures, another or others. The aggressive behaviour can involve pushing, shoving, shaking, punching, kicking, squeezing, burning or any other form of physical assault on a person (s) or on property. Emotionally abusive behaviour, is where there is a verbal attacks, threats, taunts, slagging, mocking, yelling, exclusion, and malicious rumours. Sexually abusive behaviour is where there is sexual assault or rape” (4).

Consistent with other human characters, children are influenced by the actions and characters they see. Based on this, some Nigerian children have become aggressive not only by the constant viewing of violent video films as some researchers postulate but by equally observing and emulating violent behaviours from other members of the society. Violence has been with man for ages before the advent of contemporary media, even before the inception of film in Nigeria. But the point here is that film seems to offer a clear, detailed, heightened and sophisticated means of carrying out this violent act. For instance, situations abound where a child having heard of sex discussed among older ones and viewing such scenes in movies, venture into the act to have a feel of it, in the same vein, other kids after seeing these video films, take home different skills or carry out violent acts such as, gun taunting, shooting and gun handling techniques, concealing of dangerous weapons, stealing, deflating teacher’s tyres and bullying fellow students among others. However, the implication of violence among children cannot totally be blamed on the media but on certain influences of the society. Children learn easily from observation, and adopt behaviour from the older ones exhibiting these violent acts as are portrayed in video films. They model their values after the existing value of people around them. And these acts of anti-social behaviours keep growing with increasing unsavory reputation. Nevertheless adult members of the society, have roles to play in this. Formation and upbringing of the child in the Nigerian society is not left to the parents, teachers, or filmmakers but rather a collective responsibility in order to sustain cultural values and ensure a sane society. It is on this ground that the research seeks to examine incidence of violence in the society, the influence of violent video films and behaviour which are detrimental to the Nigerian children.

1.2 Statement of Problem

It is an obvious fact that the excessive projection of violence in some of the Nigerian video films is based on the fact that, some Nigerian video filmmakers sacrifice vital moral on the altar of their personal interest and gain to the detriment of the society. Film is a powerful tool for educating and indoctrinating the society, unfortunately some Nigerian video films de-emphasize the Nigerian rich cultural heritage and instead, glorify violence. Due to the above statement, there seems to be an upward progression of violent activities in the society on a daily basis. The point here is that children who are equally exposed to these acts of violence are observing and learning too. Gradually they grow with it and begin to exhibit this same attitude.

Though the National Film and Video Censors Board (NFVCB) stated up to seven classifications of video film content restriction in Nigeria, but children still have access to viewing all classifications of video films. This is largely because these violent video films are sold in open markets and readily available on other platforms. However, some people appear to be occupied with their personal affairs why all manner of crime takes place around them without effort to prevent it. That is why the marketers and retailers will display some of these violent video films openly, without minding the age classification of the viewing audience. Painfully, adults, parents, producers, and the likes have shown little or no interest in curtailing the young ones from viewing, closely monitoring and mindful of the kind of attitudes they are exposed to or the producer not caring to minimize the inclusion of violence in their films. Therefore, the central problem of this research is; the extent and implications of exposure of junior secondary school children to violence in the society.

1.3 Research Questions

Questions are synonymous with signposts that highlight spaces and give directions. To attain optimum best, the research will be guided by the following questions:

1. Can film in Nollywood video films increase certain forms of violence?
2. How often are children exposed to violent films?
3. To what extent do these violent video films influence the children social behaviour?
4. Given the implications of violent films, who should be blamed?
5. What value and significance do violent films add to the growth of the child and the society at large?
6. How much can violent films contribute to violent behaviour in children?

1.4 Aim and Objectives of Study

The central aim of the research work is to examine the level of exposure to violence in Nigerian video films and the society with its implication on children through the investigation of two junior Secondary Schools in Nsukka and Udenu urban areas. Other objectives are as fellows;

• To draw attention to the issue of violence in Nigerian video films
• To clearly define the role of parents, guardians and adults with regards to bringing up a child in the Nigerian society.
• To reveal the influence and consequences of violent behaviours on children’s social behaviours
• To ascertain the level of violent exposure to children
• To find out the average number of times a child view video films a week.

1.5 Significance of the Study

Film has inspired alot of scholarship as an art form. Scholars have written on the use of film as a tool for social, cultural and political conscientization. It is an uncontestable fact that film reflects the society. Through film, the people’s culture, history, heritages among others are showcased. However, the Nigerian video such as Altar of Hope, Ghetto University, Market War and a host of others continue to celebrate the culture of violence. The sad reality of this analogy seems to lead to development of certain traits in children. Based on the above, the research is significant since it recommends ways of curtailing the excesses of projection of violence in Nigerian video films, it exposure to children and within the society. Socially, the research is significant to parents/guardians because it aims at drawing their consciousness to be mindful of the kind of films and violent attitude their children are exposed to in order to have a safe society. Children do not only learn and adopt attitudes from video films they equally learn and adopt behaviours from people around them.

Another significance of the study is to help the producers and directors to be aware of the consequences of producing violent films and as such arouse the consciousness of the producer and director on what to present to the society and project about our culture. In addition, the research will help to encourage the Film Censorship Board to work accordingly and avoid the release of any kind of film to the public domain or society. Finally the research will facilitate knowledge and open up windows for subsequent research on this subject matter.

1.6 Delimitation of the Study

The research project is restricted to children within the age of 12-14, in junior secondary school. Children within this age range engage in concrete/literally thinking, they focus on literal and physical fact and unable to do abstract reasoning. They swallow hook, line and sinker. Easily influenced and not charged with much responsibility at home and therefore likely to spend more time in seeing movies. In effect, the research covers St. Joseph’s Junior Secondary School Orba (Udenu L.G.A) and Community Junior Secondary School Isienu (Nsukka L.G.A). The selection of these two urban areas is to find out if there are different or similar views and influences of violence in Nigerian video films in both areas. However, the research also deals with the review of the selected Nigerian video films, issue of violence, consequences and implication of violent video films on the selected junior Secondary School children.

1.7 Limitation of the Study                 

The research project is encumbered by some factors such as: accessing the school network to get information needed for the research. Another hindrance is the issue of poor transportation in the country and hike in transport fare. Insecurity is another factor that militated against the research. Finance and time equally limited the researcher in travelling to access, interview and collect some necessary information relevant to the research work. Most interviewees due to the nature of their work and engagements could not grant the researcher interviews as they kept on postponing date and time for the interviews. Finally, the researcher was unable to access some test books, articles and journals relevance to the subject online. But amidst all, the researcher’s resilience scaled these hurdles to bring the work to fruition.

1.8 Research Methodology

The research adopts Kai Thaler’s Mixed Method and Harold Dwight Lasswell’s Media Content Analysis for data collection. Mixed Method as the name implies involves the use of two research methods; Qualitative and Quantitative methods. According to Kai Thaler, Mixed Method is used to study forms of violence, motivation and behaviours of violent individuals, groups, organization and states. It involves the use of Quantitative and Qualitative research. Qualitative research presents a processual view of social life, whereas Quantitative research provides a static account (3). Since both provide holistic view of the phenomenon understudy, pattern and processes, effect and cause, Quantitative Mixed method is used to examine the forms of violence and analyze them through the use of previously compiled or archival datasets. Qualitative Mixed Method is used to understand the experiences of violence and their psychological effect. To validate this, Random Sampling Survey Procedure and record of incidence of violence in the selected schools is used. According to Emeka Nwabueze,

A sample is a method of taking a portion of a population to represent the entire population. It is used on the assumption that a portion of a population can serve as an adequate and reliable representative of that universe, and can adequately be used to make pertinent conclusion (63).

He also defined Random Sampling as “a method of drawing a sample at random without any form of bias or interest” (64). In the course of the research, two schools were sampled and a total number of ninety students were randomly selected from both schools. Also in the course of the research questionnaires will be administered to the selected students and parents. This technique enables the researcher obtain information from students and parents from different backgrounds on the issues of violence in Nigerian video films.

The researcher also makes use of Harold D. Lasswell’s Media Content Analysis because of its precision in information gathering from the primary source. Media Content Analysis is a sub-set of Content Analysis. It is the investigation of rapid expanding communication content of movies. This research method has been primarily used for the study of portrayal of violence, racism and women in television programming as well as in films. Therefore the researcher employed the research method to evaluate the content and analyze the issues of violence in the selected movies with regards to some of these evidences in the society. In using these methodologies, the researcher was able to judiciously access material related to the field of study and information from field survey to draw a logical conclusion. The researcher documents the thesis using the Modern Language Association (MLA) style of documentation.

1.9 Theoretical Framework

Scholars and practitioners employ theories to explain in details the aspects of their area of investigation in order to successfully pass across their messages to the audience. These theories help in shaping the understanding of film in relation to reality, other arts, audience members and society as a whole. The theoretical spine of this research is anchored on Albert Bandura’s Social Learning and George Gerbner’s Cultivation theories due to their relevance to the area of investigation. According to Albert Bandura, imitation involves the actual reproduction of observed motor activities (4). To Razieh Nabavi:

This theory is based on the idea that we learn from our interaction with other in a social context. Separately by observing the behaviour of others, people develop similar behaviours. After observing the behaviour of others, people assimilate and imitate the behaviour, especially if their observational experiences are positive ones or include rewards related to the observed behaviour (5).

The researcher adopts Bandura’s Social Learning theory because it stresses the importance of observation learning, imitation and modeling which is consistent with the researcher. His theory integrates a continuous interaction between behaviours, personal factors including cognition and the environment referred to as reciprocal causation model.

Fig 1. Diagram of the Reciprocal Causation Model[1]

According to Wogu Joseph, this theory postulates that, “people, especially children, are likely to learn aggression from mass media and to pattern their behaviour after the dramatic personae” expatiating on this, he stated that,

It is just like children learning from adults around them. Children are more likely to emulate models of behaviour seen on mass media if they expect to receive gratification from emulating another person, or if they encounter a real-life situation that looks much the same with media portrayals (174).

In view of this Razieh agrees that “aggression can also be learned through models and that children become more aggressive when they observe aggressive violent models…” (7). Thus this theory holds that children tend to emulate and model after the characters/actions they observe either directly or indirectly and this actions influence and shape their attitude. However, not only what is observed on screen influences the children but what is equally encountered and observed within the environment

The second theory is Cultivation theory postulated by George Gerbner. This theory argues that the media generally presents an image of the world that does not reflect reality. Television images are an exaggerated or fantasy of what actually exist. There are a disproportionate number of handsome gentlemen, beautiful women, crime, wealth and violence. As a result, people end up perceiving the real world in a distorted manner and viewing actuality through a television perspective. Although George Gerbner argues that mass media cultivate the values which are already present in a culture: the media maintains and propagate these values amongst members of a culture, thus binding it together. In view of this, Daniel Chandler posits that television has long-term effects which are small, gradual, indirect but cumulated and significant. They emphasize the effects of television viewing on the attitudes rather than behaviour of viewers. Heavy watching of television is seen as ‘cultivating’ attitudes which are more consistent with the world of television programmes than with the everyday world. McQuail and Windahl note that “cultivation theory presents television as ‘not a window or reflection of the world, but a world on its own” (100). This, according to James Shanahan and Micheal Morgan,

cultivation is about the implication of stable, repetitive, pervasive and virtually inescapable patterns of image and ideologies that television (especially dramatic fictional entertainment) provides…the focus of the cultivation analysis is on the correlates and consequences of cumulative exposure to television in general over long period of time (5-6).

Thus this theory holds that constant viewing of violent act influences the audience. Therefore these theories are used to examine the level of exposure of violent contents and behaviours to children, how they observe and adopt these violent behaviours, its implications and consequences.

[1]   This diagram was generated by the researcher to show the interaction between the three factors that stimulates behaviour.

 

A STUDY OF THE IMPACT OF VIOLENT VIDEO FILMS ON JUNIOR SECONDARY SCHOOL STUDENTS IN ORBA AND ISIENU IN ENUGU STATE.

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