Since the 1990’s West-African video films enjoy increasing popularity, especially those produced in Ghana and Nigeria. They are an important part of modern African popular culture and have often displaced Hollywood films.
These films cover a wide spectrum of different genres. They range from comedy, romance and horror to religious films. Often the various genres are mixed but all of the films got something in common: They reflect the modern urban life in contemporary western Africa and are an account of the current process of social change in many societies.
This paper mainly concentrates on religious films, especially those produced by charismatic Pentecostal Churches.
Table of Contents
1. Introduction
2. An overview: Nigerian and Ghanaian Religious Video-Films
3. Main Issues and Structures of Popular Religious Films
4. Main Religious Characters
4.1 Pastors
4.2 Traditional Religious Characters
4.2.1 Traditional Priests
4.2.2 Traditional Chiefs
4.2.3 Mami Water
4.3 Other Characters
5. The Perceptions of the Audience and of the Producers
5.1 The Audience
5.2 The Producers
6. Conclusion: The Film in the Context of African Societies
Research Objectives and Themes
This paper explores the role of popular religious video films in West Africa, specifically examining how these media reflect contemporary social change and the influence of Pentecostal Christianity. The research investigates the construction of religious narratives, the representation of various character types, and the impact of these films on the public's perception of traditional culture and modern identity.
- The influence of Pentecostal churches on the West African film industry.
- The dualistic narrative structure of "good vs. evil" in religious cinema.
- The demonization of traditional religious figures and cultural practices.
- The audience's perception of film as a reflection of reality.
- The economic and social implications of "techno-religious realism."
Excerpt from the Book
4.2.3 Mami Water
Mami Water is an aquatic spirit, the belief in her is widespread all over West Africa. In the Pentecostal context she is described as a “Christian demon”, who lives at the bottom of the sea. It is believed, that she wants to seduce people with sexual relationships to come to the seabed, where a lot of riches and consumer goods are waiting. In return to that someone have to sacrifice people to her (Meyer, 2004:199). Already for a long time exist several cults and legends around Mami Water. Especially women were asking her for children or money (Meyer, 2004:201). But since the 1980’s this has changed (probably with the introduction of the IMF’s Structural Adjustment Program). In that period a lot of luxurious consumer goods flood the Ghanaian and Nigerian markets, but without that the spending capacity of the population raised. So they were unreachable. In this context the myth was created, that most of these goods are coming from Mami Water (Meyer, 2004:201). Since then Mami Water can be described as the embodiment of the “spirit of modern consumerism”, who propagates “consumption-oriented individualism” (Frank, 1995:331).
The imagination of the existence of Mami Water also circulates in Pentecostal churches. It is believed that she is an uncontrollable spirit, linked with Satan and seen as one of the fallen angels. This stands in sharp contrast to the above described belief, that Mami Water is also perceived as dangerous, but controllable if you handle her with care (Meyer, 2004:199). In the Pentecostal conception Mami Water appears often in dreams or even on the street, dressed very sexy with a mini-skirt and high-heels in a posh car. She is described as a white, attractive woman, who looks similar to Eve (Meyer, 2004:202). Since Mami Water is a very fascinating spirit and therefore very attracting and dangerous, it is the mission of Pentecostal churches to abandon her and to deliver possessed persons through laying of hands (Meyer, 2004:202). In popular religious video films Mami Water is shown as a demon in a Christian context.
Summary of Chapters
1. Introduction: Introduces the rise of West African video films as a medium for reflecting modern social change and outlines the focus on Pentecostal-produced religious cinema.
2. An overview: Nigerian and Ghanaian Religious Video-Films: Compares the film industries of Nigeria and Ghana, noting similarities in state liberalization and differences in budget, censorship, and technological capabilities.
3. Main Issues and Structures of Popular Religious Films: Explains the common narrative of spiritual warfare between Pentecostal Christianity and traditional forces, highlighting the concept of "Occult Economy."
4. Main Religious Characters: Analyzes how specific archetypes like pastors, priests, and chiefs are portrayed to reinforce Christian superiority.
4.1 Pastors: Examines the depiction of Pentecostal pastors as heroic figures endowed with the "spirit of discernment" to battle evil.
4.2 Traditional Religious Characters: Discusses the demonization of traditional heritage and religious leaders within the context of Pentecostal narrative goals.
4.2.1 Traditional Priests: Details how priests are caricatured as weird, dangerous figures associated with the wilderness and occult riches.
4.2.2 Traditional Chiefs: Contrasts the portrayal of chiefs as obstacles to modern development against their real-world roles as preservers of cultural heritage.
4.2.3 Mami Water: Analyzes the reinterpretation of the Mami Water myth from a traditional spirit into a symbol of modern consumerism and a "Christian demon."
4.3 Other Characters: Addresses the gendered and age-based stigmatization in films, specifically regarding the scapegoating of women and children as witches.
5. The Perceptions of the Audience and of the Producers: Explores why these films are popular and how audiences often struggle to separate the fictional portrayals from reality.
5.1 The Audience: Describes how viewers authenticate these films as "revelations" of invisible powers, seeing them as moral parables for daily life hardships.
5.2 The Producers: Analyzes the motivations of filmmakers, whether they are believers or commercial opportunists, in propagating a specific religious world-view.
6. Conclusion: The Film in the Context of African Societies: Synthesizes the argument that these films, while an expression of modern social change, actively influence the public perception of heritage through the demonization of tradition.
Keywords
West African cinema, Pentecostalism, video films, religious media, social change, Mami Water, spiritual warfare, Occult Economy, representation, traditional religion, techno-religious realism, cultural identity, Nigerian films, Ghanaian films, audience perception.
Frequently Asked Questions
What is the primary subject of this research paper?
The paper examines the representation of religion, specifically Pentecostal Christianity, in popular West African video films and the resulting impact on societal perceptions.
What are the central themes discussed in the work?
Key themes include the struggle between "good and evil" (spiritual warfare), the demonization of traditional religious characters, the role of modern media in social change, and the blurring of fiction and reality.
What is the main research question or objective?
The objective is to understand how these films serve as a platform for Pentecostal churches to spread their world-view and how they affect the public's understanding of their own cultural heritage.
Which scientific methodology does the author employ?
The author employs a qualitative analysis of film narratives, drawing upon existing media theory and cultural studies, supplemented by references to film summaries and scholarly interviews.
What is covered in the main section of the paper?
The main section details the basic narrative structure of these films, the categorization of religious figures (pastors, priests, Mami Water), and the sociological perception of these films by both producers and the general public.
Which keywords best characterize this study?
Keywords include West African cinema, Pentecostalism, spiritual warfare, Mami Water, social change, techno-religious realism, and traditional heritage.
How does the paper explain the concept of "techno-religious realism"?
It describes a phenomenon where film technology is used to manifest Pentecostal beliefs in a way that audiences accept as literal reality or "revelations" of the invisible world.
In what way does the author describe the representation of women and children?
The author notes that women and children are frequently stigmatized, often being depicted as scapegoats, witches, or transmitters of disease, which reflects and reinforces real-world social problems in the region.
Why are traditional chiefs portrayed differently than traditional priests in these films?
While both are often associated with occultism, chiefs hold public positions of power that allow them to defend their reputation, whereas priests are more easily caricatured as "weird" or "demonic" figures in the films.
- Arbeit zitieren
- Neele Siebers (Autor:in), 2008, The Presentation of Religion in popular West-African Video Films and their Impact on the Society, München, GRIN Verlag, https://www.grin.com/document/144285
