African video films: Stereotypes and narrative crumple in the quest for transnationality in Dar 2 Lagos

Abstract

AbstractThis article takes a close-up look at Dar 2 Lagos, a film by Femi Ogedegbe,focusing on how the film attempts to feature transnational elements in filmingacross Africa. The film which demonstrates a new trend in filmmaking practicesin Africa introduces possible multinational collaborations which are likely to offeropportunities for talents and producers to team-up and utilize not only talentsand stories but also beautiful locations around the continent. However, suchopportunities for the industry to cater for the demand of the audience with storiesthat people across the continent share and relate to is haunted by the film ' sstereotypical representation of women. While I read Dar 2 Lagos as the industry ' seffort to unite the two emerging film industries in Africa, Nigeria ' s Nollywoodand Tanzania ' s Bongo Movies, I also highlight the way the film segregateswomen in the union process. I use a textual analysis to argue that although thecurrent film practice in Africa attempts to ease border crossing, Dar 2 Lagospermits only male stories, ideas, narratives, talents and bodies to unrestrictedlymove between African nation-states and beyond. The film ' s narrative denies freemovement of the female bodies and their passions. This stereotypical practice ofthe medium perpetuates the past cultural practices and therefore jeopardises aclear envisioning of the future of film production in Africa..Key words:Transnationalism, African filmmaking, Women ' s Representation, Future ofAfrican film production