This document summarizes a research study that examined audience perceptions of sexual content in Nigerian movies. The study utilized a survey research design to collect information from 337 respondents across four local governments in Ogun State, Nigeria. The results showed that most audiences consider sexual content in movies to be bad, unhealthy, excessive and irrelevant. Based on these findings, the researchers recommend that movie producers should include sexual scenes sparingly and tactfully. The document provides background on the growth of the Nigerian movie industry, defines key terms like sexual content, and discusses factors that can influence different interpretations of sexual content among audiences.
Visual Perception and Reception of Boubakar Diallos Julie et Roméo in Cameroonijtsrd
Modern African film cultures are receiving a new form of acceptability and audiences beyond the borders of Africa. This is illustrated by the growth, development and spread of the Nigerian and Ghanian film industries. While African audiences perceive them as 'Pan African', the development of film culture in Cameroon follows a different trajectory, with audience critiques of non representativeness of Cameroonian films. It is in this context that a Burkinabe film, Julie et Romeo, by Boubacar Diallo, itself an African adaptation of Shakespeare's play, became one of the most well received films in Cameroon. Two factors accounted for this, the film's aesthetic appeal and the director's engagement with his potential audience. I argue here that audience sensitivity is neglected in Cameroonian accounting for low reception of Cameroonian films. By analysing audience reception of Diallo's film, I map out a strategy for audience engagement in the production and receptivity of Cameroonian films as a way of improving their aesthetics, quality and wider appeal. Tafor Ateh ""Visual Perception and Reception of Boubakar Diallo's Julie et Roméo in Cameroon"" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-2 , February 2020,
URL: https://www.ijtsrd.com/papers/ijtsrd30248.pdf
Paper Url : https://www.ijtsrd.com/other-scientific-research-area/other/30248/visual-perception-and-reception-of-boubakar-diallos-julie-et-rom%C3%A9o-in-cameroon/tafor-ateh
Mass Communication: Strength and Limitation as A Public Health Prospective mainly focus on Role of Mass communication/Media in Health Education and communication.
Visual Perception and Reception of Boubakar Diallos Julie et Roméo in Cameroonijtsrd
Modern African film cultures are receiving a new form of acceptability and audiences beyond the borders of Africa. This is illustrated by the growth, development and spread of the Nigerian and Ghanian film industries. While African audiences perceive them as 'Pan African', the development of film culture in Cameroon follows a different trajectory, with audience critiques of non representativeness of Cameroonian films. It is in this context that a Burkinabe film, Julie et Romeo, by Boubacar Diallo, itself an African adaptation of Shakespeare's play, became one of the most well received films in Cameroon. Two factors accounted for this, the film's aesthetic appeal and the director's engagement with his potential audience. I argue here that audience sensitivity is neglected in Cameroonian accounting for low reception of Cameroonian films. By analysing audience reception of Diallo's film, I map out a strategy for audience engagement in the production and receptivity of Cameroonian films as a way of improving their aesthetics, quality and wider appeal. Tafor Ateh ""Visual Perception and Reception of Boubakar Diallo's Julie et Roméo in Cameroon"" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-2 , February 2020,
URL: https://www.ijtsrd.com/papers/ijtsrd30248.pdf
Paper Url : https://www.ijtsrd.com/other-scientific-research-area/other/30248/visual-perception-and-reception-of-boubakar-diallos-julie-et-rom%C3%A9o-in-cameroon/tafor-ateh
Mass Communication: Strength and Limitation as A Public Health Prospective mainly focus on Role of Mass communication/Media in Health Education and communication.
This week we discuss about the relevance of studying production in media studies. From films to electronic devices, production helps us to understand how media involves labor.
As a result of combination of moving pictures, today's movie has been created. The main purpose of this is for entertainment. but it brings a lot more than that to people's life especially some advantages and inspiration through the screen. Nowadays, it has become one of the most popular activity to spend time with closer ones. Its benefits outweigh the disadvantages in some way. And most importantly, film itself is not right or wrong but individual's perception has their especial way of sensing. Bayarmaa Bayarbat "Watching a Film" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-5 | Issue-6 , October 2021, URL: https://www.ijtsrd.com/papers/ijtsrd46329.pdf Paper URL : https://www.ijtsrd.com/other-scientific-research-area/other/46329/watching-a-film/bayarmaa-bayarbat
This week we discuss about the relevance of studying production in media studies. From films to electronic devices, production helps us to understand how media involves labor.
As a result of combination of moving pictures, today's movie has been created. The main purpose of this is for entertainment. but it brings a lot more than that to people's life especially some advantages and inspiration through the screen. Nowadays, it has become one of the most popular activity to spend time with closer ones. Its benefits outweigh the disadvantages in some way. And most importantly, film itself is not right or wrong but individual's perception has their especial way of sensing. Bayarmaa Bayarbat "Watching a Film" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-5 | Issue-6 , October 2021, URL: https://www.ijtsrd.com/papers/ijtsrd46329.pdf Paper URL : https://www.ijtsrd.com/other-scientific-research-area/other/46329/watching-a-film/bayarmaa-bayarbat
MIL for Teachers Module 03: Representation in Media and InformationPEDAGOGY.IR
MIL for Teachers Module 03: Representation in Media and Information
2023 UNITED NATIONS ALLIANCE OF CIVILIZATIONS (UNAOC)
and
UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION (UNESCO)
Source URL:
http://unesco.mil-for-teachers.unaoc.org/modules/module-2/
9/28/2019 Karlin
journal.media-culture.org.au/index.php/mcjournal/rt/printerFriendly/444/0 1/4
M/C Journal, Vol 14, No 6 (2011)
Measuring Impact: The Importance of Evaluation for Documentary Film Campaigns
Beth Karlin, John Johnson
Abstract
Introduction
Documentary film has grown significantly in the past decade, with high profile films such as Fahrenheit 9/11, Supersize Me, and An Inconvenient Truth garnering
increased attention both at the box office and in the news media. In addition, the rising prominence of web-based media has provided new opportunities for
documentary to create social impact. Films are now typically released with websites, Facebook pages, twitter feeds, and web videos to increase both reach and
impact. This combination of technology and broader audience appeal has given rise to a current landscape in which documentary films are imbedded within
coordinated multi-media campaigns.
New media have not only opened up new avenues for communicating with audiences, they have also created new opportunities for data collection and analysis of
film impacts. A recent report by McKinsey and Company highlighted this potential, introducing and discussing the implications of increasing consumer information
being recorded on the Internet as well as through networked sensors in the physical world. As they found: "Big data—large pools of data that can be captured,
communicated, aggregated, stored, and analyzed—is now part of every sector and function of the global economy" (Manyika et al. iv). This data can be mined to
learn a great deal about both individual and cultural response to documentary films and the issues they represent.
Although film has a rich history in humanities research, this new set of tools enables an empirical approach grounded in the social sciences. However, several
researchers across disciplines have noted that limited investigation has been conducted in this area. Although there has always been an emphasis on social impact in
film and many filmmakers and scholars have made legitimate (and possibly illegitimate) claims of impact, few have attempted to empirically justify these claims.
Over fifteen years ago, noted film scholar Brian Winston commented that "the underlying assumption of most social documentaries—that they shall act as agents of
reform and change—is almost never demonstrated" (236). A decade later, Political Scientist David Whiteman repeated this sentiment, arguing that, "despite
widespread speculation about the impact of documentaries, the topic has received relatively little systematic attention" ("Evolving"). And earlier this year, the
introduction to a special issue of Mass Communication and Society on documentary film stated, "documentary film, despite its growing influence and many impacts,
has mostly been overlooked by social scientists studying the media and communication" (Nisbet and Aufderheide 451).
Film has been studied extensively as entertainment, as narrative, and as cultural even ...
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
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From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Audience perception of sexual contents in nigerian movies
1. New Media and Mass Communication
ISSN 2224-3267 (Paper) ISSN 2224-3275 (Online)
Vol.18, 2013
www.iiste.org
Audience Perception of Sexual Contents in Nigerian Movies
1.
2.
3.
Uwom Oguchi O. Chioma Patricia E. Sodeinde Oluwaseyi A.
Department of Mass Communication, Babcock University, P.O. Box 1 Ilishan-Remo, Ogun State,
Nigeria.
Department of Mass Communication, Babcock University, P.O. Box 1 Ilishan-Remo, Ogun State,
Nigeria.
Department of Mass Communication, Babcock University, P.O. Box 1 Ilishan-Remo, Ogun State,
Nigeria.
uwomoguchi@gmail.com
Abstract
Studies of sexual messages in movies and on television have found that there has been an increase in the number
of portrayals and amount of sex featured in these media and an increase in the explicitness of these portrayals.
The objective of this study was to know the extent to which the audience want sexual contents in Nigerian
movies. Survey was adopted as the research design and copies of questionnaire were used to gather information
from 337 respondents in four local governments in Ogun state. Results showed that audiences consider sexual
contents as bad, unhealthy, excessive and irrelevant in most cases. Based on the findings, the researcher
recommends that producers should pass across sexual acts swiftly and with caution.
Keywords: Audience, Film, Media, Movies, Sexual contents
1.
Introduction
The mass media seems to be a sure source of content, ideas, information and educative materials in the 21st
century. The advent of the internet aided by globalization can be said to have increased dramatically the
availability of such materials at individuals’ disposal. Naturally, it can be argued that the mass media to an
extent is a blessing when the speed of information exchange and access is considered. According to Bielak
(1995) by the time the average person graduates from high school, he or she has watched more than 17,000 hours
of television (TV).
Typical of every developing invention experiencing growth, the mass media however seem to have its dark
sides. Researchers in certain quarters are of the opinion that mass media users are rather using it for negative
purposes and the media also has negative effect on viewers. Onabajo (2002:3) elaborated that the ‘developing
worlds, especially African countries, have accused the advanced countries of cultural imperialism, through the
mass media.’
One of the major drivers of cultural imperialism here is technology and invariably globalization which has
shrunk borders and barriers making open the way for so many materials from the Western world to come in. It
then seems to be appropriate to say that media users imitate and learn foreign norms which are now practiced in
our own conservative society; television stations like E!, Style, MNET East, Fashion TV, MNET Action, MM1,
MM 2 among others which Nigerian viewers are exposed to help to strengthen this.
It appears that movie producers and media practitioners are also not left out. They see the foreign scenes as
superior and strive hard to meet the needs of the sophisticated and exposed viewers who have now been
influenced by the pattern of life on the foreign scenes. In the bid to satisfy the audience and meet up with
international standards, producers as well copy international intuition and production techniques. These
techniques are hereby initiated into the local movie productions. Of course this helps in improving production
quality but some lead to the degradation of culture and value.
In Nigeria a wide range of cable television services for example, Direct Satellite Television (DSTV), My TV,
Startimes, Gotv etc. are made available to subscribers, through the purchase of decoders and the payment of
subscription fees which varies depending on the subscriber’s choice of package. This probably is another means
of making available all sorts of pornographic materials.
BBC News (2012) regarded Nollywood, that is, the Nigeria Movie Industry as the second largest film industry in
the world by volume and its estimated annual revenue. This industry produces films with plots that portray
scenes often related or connected to love, witchcraft, sex, rape, money, religion, lineage sustainability,
procreation and deception among lovers. And in numerous cases young people have had access to “X-rated”
films which according to the National Film and Video Censors Board (NFVCB, 2010 para.10) hereafter referred
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to as NFVCB explained that “censorship entails the examination of the contents of a film or video work to
determine the age group of the target audience, based on the film’s possible or inherent psychological,
sociological and moral impact, among other factors.” Moreover, the Nigeria Broadcasting code states that ‘the
portrayal of nudity and sexual scenes and expression is justifiable only in context; however, it shall be presented
with tact and discretion’ (The Nigeria Broadcasting Code 2002:45).
The increasing expansion in Nollywood in terms of number of annual film productions which have a high
concentrate of sexual content, still with a readymade market and audience is a challenge. These movies are not
often accessed by mature viewers (adults) alone as a result of the laxity of authorities, parents, distributors, and
the media. While movie producers want to sell and appeal to their audiences, it is imperative that they
understand the nature of the audience and what they would prefer to see in the movies and not just try to sell
what they think is in vogue. This also brings to light the need for audience research to actually find out what
exactly the audience wants to see in the movies they watch and the extent to which they want what is shown to
them. Therefore, the study seeks to answer the question: What is the audience perception of sexual content in
Nigerian Home Videos?
In this research, Audience is defined as a person or group of people that has/have watched a movie either
partially or fully, while Sexual content on the other hand is any action that shows the act of- intimate touching,
explicit sexual intercourse, kissing, necking, talking about sex and nudity.
2.
Research Questions
1. How do viewers perceive sexual contents in Nigerian movies?
2. To what extent do the audience want sexual contents in Nigerian movies?
3. Research Hypotheses
Ho: Sexual contents do not have any significant influence on adolescents.
H1: Sexual contents have a significant influence on adolescents.
4. Theoretical Framework
This study is anchored on the Psychological Theory of Perception. Perception or what other scholars refer to as
social perception according to Nelson and Quick (1997:83) in Unumeri (2009:18) ‘is the process of interpreting
information about another person.’ What this definition means is that the outlook one forms about people
depends on the amount of information available and the extent to which one is able to correctly decode the
information that was acquired. Hence, one may be in possession of the same set of information that others have
on a particular situation, person or group but still arrive at different conclusions due to individual differences in
the capacity to interpret the information at hand.
Folarin (2002:63) posits that ‘perception depends on a complex of variables such as a psychological disposition,
past experiences, cultural expectations and social relationships.’
The process of media audience perception involves four stages of: Selective exposure, selective attention,
selective perception and selective retention. Selective exposure is when a person exposes himself or herself to
communications that are in agreement with his existing attitudes while ignoring that not in accordance with his
attitudes. Selective attention has to do with information that one pays attention to avoid confusion. Selective
perception explains that the interpretation of any message depends on the receiver while selective retention is the
ability of the audience to recall information in relation to his wants, needs, attitudes etc.
This theory is relevant to this study in that the Nigerian movie audience have to be exposed to movies for them
to really be addressed as audience. After exposure, the selective attention transmits to the fact that the movie
audience would have selectively chosen the content to concentrate on in the movies, that is sexual content in this
case. The selective attention given to sexual content therefore determines the perception and understanding of
the content by the audience. After which retention of the sexual scenes, lessons learnt and influences of exposure
occurs.
5. Film: An Overview
‘Motion picture’, ‘movie’ or ‘film’ according to Knight and Carey (MCMLXXI:474), is a ‘continuous sequence
of still photographs, in black and white or coloured, projected in rapid succession onto a screen to give the
optical illusion of motion. Movies are made up of plots and characters serve as the actors who act out a story
line/plot. Vassiliou (2006:2), stated that ‘the story of a film can be considered the ‘original’ story a
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director/writer had in mind… and that film presents us with a story or narrative that is re-enacted through the
interaction of characters.’
Films are a form of “literature on screen”. They are a popular form of entertainment, as well as a powerful
medium for educating and indoctrinating viewers through the mass media. Like every other channel of mass
communication, films perform three default functions- to educate, inform and entertain.
5.1 Brief History of Film in Nigeria
Akalugo (2001) says that Nigeria’s first contact with cinema was in August 1903. This took place at Glover Hall,
Lagos where the first film was shown. The Colonial administration in Nigeria with the Christians missions used
the film, among other media to accept Christianity and Western Culture. Akalugo further explains that film
production, distribution and exhibition were restricted to Lagos where they compete with concerts and drama
shows and the contents of such movies were highly censored (Akalugbo, 2001).
According to Akalugo (2001:25), the films were designed to accomplish the following objectives:
• To publicize the activities and objectives of the Federal Government of Nigeria.
• To help in educating the public on methods of improving its way and standard of living.
• To portray the achievements of Nigerian culture both locally and internationally.
• To inform the public of news events in and outside Nigeria.
The foreign film distributors and exhibitors succeeded in turning attention from the documentaries to themselves.
Fortunately, Nigerians became involved in the production of films and by 1970 the first indigenous feature film
was produced in Nigeria: KONGI’S HARVEST, it was based on a play written by Wole Soyinka and was
produced by Calpeny Nigeria Ltd.
The release of the box-office movie Living in Bondage in 1992 by NEK Video Links owned by Kenneth Nnebue
in the Eastern city of Onitsha set the stage for Nollywood as it is known today (Olayiwola 2011). Home Videos
were and are produced to serve as an alternative to the cinemas, and the name was derived from the conception
that the audience can seat in the confines for his or her home and watch the movie at his or her convenience
(Okon 2010).
5.2 Sexual Content in Movies
Sexual content can be regarded as any sexual act, from passionate kissing all the way to intercourse. As seen in
the operational definition of concept of this study, ‘any action that shows the act of, intimate touching, explicit
sexual intercourse, kissing, necking, talking about sex and nudity’ can be referred to as sexual contents.
Synonym for sexual contents include, sexual images, sexual materials.
According to Huston, Wartella, and Donnerstein (1998) sexual content can be defined “as verbal references to
sexual activity, innuendo (an indirect intimation about a person or thing), implied sexual activity and visual
presentation of sexual activity.” (Korpershoek, 2012:3).
Korpershoek (2012:3) citing Ward (2003), states that ‘sexual content has grown frequently and explicitly in
different forms of media. For instance, messages about sexuality on television have increased in the last two
decades’. Studies of sexual messages in movies and on television (prime time, soaps, and music videos have
been studied most heavily) have found that over the past twenty years, there has been an overall increase in the
number of portrayals and amount of sex featured in these media and an increase in the explicitness of these
portrayals.
In Smith, Moyer-Gusé, and Donnerstein (2004:553), it was confirmed that when it comes to the content of
movies, sex sells:
In a recent study, college students read descriptions of movies that
either did or did not include sex. Participants expressed preference
for those movies that mentioned sex in the description (Bahk,
1998). Because the movie industry is driven by consumer demand
and moviegoers prefer sex, sex is prevalent in movies. A recent
analysis of the 50 most profitable films of 1996 found that 40% of
the movies featured at least some sex.
5.3 Factors that Influence the Different Interpretation Patterns of Sexual Content in Nigerian Film
Differences in interpretation of sexual content are presumably driven by selective perception, individual
experiences and biases, and level of involvement in the content.Ward, Gorvine, and Cytron (2001) in
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Manganello, Henderson, Jordan, Trentacoste, Martin, Hennessy, and Fishbein (2010:365) described three sets of
factors that may influence perceptions of sexual content:
a. Socio demographic factors (such as age, sex, and ethnicity)
b. Viewing behaviour (such as time and attention), and
c. Previously held attitudes (such as beliefs about sexual behaviour).
Socio demographic factors (such as age, sex, and ethnicity): As stated by McQuail (2005:430) ‘social
background and milieu, especially as reflected in social class, education, religious, cultural, political and family
environment and region or locality of residence affect the audiences’ interpretation pattern. It is generally
understood that adults are more matured than children; therefore age determines how individuals will perceive,
react and interpret sexual acts in movies.
Another variable here is gender or sex. Females are typically more scared by dangers and threats depicted in
movies than males. Therefore in instances where the sexual act portrayed had negative effects on the characters,
then the female audience who is gullible to threat would interpret it differently form a male who naturally does
not get scared of threats (Smith et al. 2004).
Viewing behaviour (such as time and attention): The time and level of attention given to the movie while
watching determines how the audience would interpret. An audience who was doing another thing while
watching a movie will surely not interpret the sexual content in it the same way an audience who paid full
attention will.
The timing is also a factor that determines different interpretation patterns among Nigerian film audience.
McQuail (2005:430) mentioned timing as one of the most relevant factor, that is “whether one is alone or in
company (friends, family, others). Where media are used (e.g at home, work, travelling, in a cinema, etc.”
Previously held attitudes (such as beliefs about sexual behaviour): Prior knowledge and understanding of the
sexual acts depicted in movies varies from individual to individual. These previously held beliefs about sexual
behaviour, sex, relationships etc. of different audiences make their interpretation differ. Beliefs here are not
limited to people’s prior understanding and beliefs of sexual content, general beliefs of life, religion, culture etc.
can also be attributed to discrete interpretations among the audience.
6.Research Methodology
This research adopted the survey research design. Surveys have an upper hand above other methodologies
because they can be used to investigate problems in realistic settings and a large amount of data can be gathered
(Wimmer and Dominick, 2011).
The study population consisted of the staff members of four local governments in Ogun state. The total
population of staff in the four local governments is 2131. To get the sample size for this study, a formula by
Yamane (1974) as cited by Evborokhai (2009) was adopted. The formula is illustrated thus:
n=
(N)
1+N (0.05)2
Where
n = sample size
N = population
1 is constant
E= level of significance chosen
n=
2131
1+ 2131 (0.05)2
n=
2131
1+2132 (0.0025)
n=
2131
1+ 5.3275
n=
2131
6.3275
n=
336.7838799
n=
337
Sample size= 337
(0.05)2
Table 1: Percentage of respondents in the four local governments and actual sample drawn from each group
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Local Governments
Population
Percentage (%)
Sample size
Ipokia
Ijebu East
Ifo
Ikenne
Total
597
574
464
496
2131
28
26.9
21.8
23.3
100
94
91
73
79
337
The study made use of the cluster sampling of the probability sampling technique. ‘Cluster sampling is used
when researchers recognises that some populations are distributed in pockets of settlement and the researcher
wants to use the cluster as basis for selection’ (Tejumaiye 2003 p.45).
There are twenty local governments in Ogun state; to get the sample population the local governments were
divided into clusters using the four major ethnic entities in the state, that is, Yewa, Ijebu, Egba and Remo.
Afterwards, the simple random technique was used to select a local government from each cluster. In total four
local governments were selected. Questionnaire was used as the instrument for data collection. Three hundred
and thirty seven (337) copies of questionnaire were distributed out of which 309 copies were returned. Hence the
response rate was 91.7% (80 (25.9%) male respondents, and 229 (74.1%) female respondents).
See table below for exact return rate by local governments.
Table 2: Return rate of the copies of questionnaire
Local Governments
Number Administered
IPOKIA
IJEBU-EAST
IFO
IKENNE
Total
Frequency
94
91
73
79
337
Number Returned
Percent (%)
27.9
27.0
21.7
23.4
100.0
Frequency
91
90
66
62
309
Percent (%)
29.4
29.1
21.4
20.1
100.0
The data gathered were analysed using both descriptive and inferential statistical method. The descriptive
employed the use of frequency distribution, simple percentages and tables to analyse the data. While the
inferential statistics employed the use of regression analysis to check if the sexual contents in home videos have
a significant influence on adolescents. Hence sexual content was taken as the independent variable while
adolescent was taken as the dependent variable. The data were analyzed with the use of the statistical package
for social sciences (SPSS version 17).
7.Data Presentation And Analysis
7.1 Presentation of Findings
Research Question 1: How do viewers perceive sexual contents in Nigerian movies?
Table 3: Respondents’ perception of sexual contents in Nigerian Home Videos
Frequency
Percent (%)
Bad
195
63.1
Fair
90
29.1
Good
16
5.2
Very Good
8
2.6
Total
309
100.0
Source: Field Survey, 2013
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Table 4: Table showing stage where sexual acts become offensive
Kissing
Intimate touching
Sexual intercourse
Explicit sexual intercourse
Total
Source: Field Survey, 2013
Frequency
100
83
109
17
309
Percent (%)
32.4
26.9
35.3
5.5
100.0
Table 5: Table showing Audience Perception on the irrelevance of sexual contents in Nigerian Home
Videos
Yes
No
Total
Source: Field Survey, 2013
Frequency
207
102
309
Percent (%)
67.0
33.0
100.0
Interpretation
As shown in Table 3, 195(63.1%) of the respondents perceive sexual contents in Nigerian movies as bad. From
Table 4, 109(35.3%) of respondents say sexual contents get offensive at sexual intercourse stage. Table 5,
207(67.0%) of the respondents think sexual contents in movies could be irrelevant at times while 102(33.0%)
say sexual contents are always relevant. Respondents were further asked a follow-up question on why or not they
think sexual contents could be irrelevant in some situations, those that said yes said it is irrelevant when it does
not relate to the film and when it is excessive. And those who said no, said so because they believe sexual
contents relates to and stems from whatever has been happening in the movie and some said it gives the
individual ideas about what is going on in the world.
From the analysis, it is obvious that the audience does not appreciate the level of sexual contents they watch in
movies as the present state of sexual contents in Nigeria movies is rated as bad and unsatisfactory. This state of
unpleasantness as revealed in this study aggravates the audience when sexual intercourse is portrayed in sexual
contents shown. The length of these contents can also be attributed as one of the reasons the audience see sexual
contents in Nigerian movies as bad because they regard it as excessive when it lasts for over a minute.
Moreover, some of these sexual acts can be regarded as irrelevant because they won’t change anything in the
movies if they are deleted. The audience especially adults who were the respondents are logically meant to know
what is good for them and this shows why majority of the respondents say their perception of sexual contents is
unhealthy for the audience.
Research Question Two: To what extent do the audience want sexual contents in Nigerian movies?
Table 6: Frequency at which sexual contents should be shown in Nigerian Home Videos
Frequency
Percent (%)
Always
16
5.2
Often
22
7.1
Once in a while
136
44.0
Never
135
43.7
Total
309
100.0
Source: Field Survey, 2013
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Table 7: Stage at which sexual contents should stop
Frequency
Percent (%)
Kissing
173
56.0
Intimate touching
64
20.7
Pulling off of clothes
34
11.0
Sex
38
12.3
Total
309
100.0
Source: Field Survey, 2013
Interpretation
As shown in Table 6, 136(44%) of respondents believe sexual contents in home videos should be featured once
in a while, while 135(43.7%) believe it should never be shown. From Table 7, 173(56%) respondents opine that
sexual contents should stop at the kissing stage.
From the analysis, it means that sexual contents should only feature once in a while when it is relevant and
cannot be avoided. There should be limited kissing in the movies.
From the analysis it is obvious that the audience does not appreciate the level of sexual contents they watch in
movies.
7.3 Test of Hypothesis
Rule
T cal > T tab= Accept H1 Reject H0
T cal <T tab= Reject H1 Accept H0
Ho: Sexual contents do not have any significant influence on adolescents.
H1: Sexual contents have a significant influence on adolescents.
Regression Summary
Unstandardized Coefficients
Model
2.250
Sig.
8.451
0.02
Remark
1.322
0.221
F (T cal)
0.711
(Constant)
R2
Std. Error
Sexual
contents
1
B
0.795
Significant
a. Dependent Variable: Adolescents.
The coefficient of the independent (Sexual contents) is 0.221 which is positive. This shows that there is a
positive relationship between Sexual contents and Adolescents. This invariably implies that the more sexual
contents in movies the adolescents watch, the more it will bring about a corresponding increase on its influence
on the adolescent, all things been equal.
The overall coefficient of determination R2, which is the explanatory power of the model, is 0.711, that is R2 =
0.711. This implies that 71.1% of the variations on the adolescent sexual behaviour is explained by the sexual
contents in movies they watch. The remaining 28.9% of changes can be explained by other variables that are not
considered in the model but can cause variation on the dependent variable.
According to the regression result
Tcal= 8.451
To calculate Ttab, the DF (Degree of freedom) has to be ascertained
DF=V
that is V= (N-1)
Where N= number of respondents
Therefore, we have
(309-1)= 308
Checking 308 at 5% level of significance on the T distribution table, we have that
Tcal= 8.451
Ttab = 1.84
Tcal> Ttab
8.451>1.84
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Result
The T-test at 5% significance level shows that T-calculated of 8.451 is greater than the T-tabulated of 1.84, using
the degree of freedom of (308); we reject the H0 which says that Sexual contents do not have any significant
influence on adolescents and accept H1 which is that sexual contents in movies have a significant influence on
adolescents. This means that there is a significant relationship between sexual contents and adolescents who are
exposed to them.
7.4 Major Findings
I.
II.
III.
IV.
Audiences consider sexual content as bad, unhealthy, and regard it as excessive when it lasts for more
than a minute.
Audiences get offended when sexual acts get to sexual intercourse in movies and they are of the opinion
that sexual contents could be irrelevant especially in cases where the sexual scenes would not change
anything in the movies if they are deleted.
Sexual contents should only feature once in a while, with kissing as the limit and should last within the
time frame of 5-7 seconds.
From the test of hypothesis, it was also discovered that there is a significant influence of sexual contents
on adolescents that are exposed to them.
8. Conclusion
This study examined audience perception of sexual contents in Nigerian home videos. The findings of this study
revealed that sexual contents in Nigerian movies are not appreciated and that there is need for adolescents to be
protected from getting exposed to these contents. Based on the findings in chapter 4, it can be affirmed that the
present state of sexual contents in Nigerian movies is bad.
9. Recommendations
Movie producers can carry out audience research to find out what appeals to them and by doing this; they will
pass their message across swiftly and with caution.
The government and regulatory bodies also have a major role to play. Film agencies such as the NFVCB should
make sure they not only screen movies and place them into the right rating but should also do a follow up to
ensure that producers do not play pranks by inserting clips that were not originally shown to them back into the
movie to enable them sell. The Nigerian Broadcasting Commission (NBC) should endeavour that all its laws and
regulations especially those that relate to obscenity and airing of movies with sexual contents must be obeyed by
broadcast stations and when they are not followed they should be sanctioned. Parents are also urged to counsel
and discipline their children to view only movies within their viewing category and if they must have access to
these films, they should be view it wisely.
Future researchers who wish to carry out further study in this area are urged to get respondents from other parts
of the country and in another category of workers other than civil servants as used in this study. Researchers are
also urged to consider the adolescents’ perspective to this issue since they are exposed to it.
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Publishing, Australia.
First Uwom, Oguchi. was born in Abia State Nigeria on December 7, 1986. The author earned a Bachelor of Arts
in Mass Communication from Babcock University, Ilishan-Remo, Ogun state, Nigeria in 2009 and also a Master
of Arts in Mass Communication from the same university in 2012. She is currently on her PhD in the same
university. Her major field of study is development communication.
Second, Chioma, Patricia E. was born in Lagos State Nigeria on February 2, 1985. The author earned a Bachelor
of Arts in Mass Communication from Babcock University, Ilishan-Remo, Ogun state, Nigeria in 2006 and also a
Master of Arts in Mass Communication from the same university in 2012. She is currently on her PhD in the
same university. Her major field of study is broadcasting.
Third, Sodeinde, Oluwaseyi A. was born in Ogun State Nigeria on April 3, 1993. The author earned a Bachelor
of Arts in Mass Communication from Babcock University, Ilishan-Remo, Ogun state, Nigeria in 2013. She is
currently on National Youth Service Corps (NYSC). Her major field of study is broadcasting.
24
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