In Praise of Ostentation: Social Class in Lagos and the Aesthetics of Nollywood's Ówàḿbẹ̀ Genres.
New Nollywood's representation of the social life of Lagos is enacted through Ówàḿbẹ̀ as a cinematic strategy that underscores the contradictions inherent in the politics of pleasure and materialism. A performative display of wealth expressed through the social drama of partying, as well as wild and...
| Publicado en: | African Studies Vol. 80; no. 3/4; pp. 434 - 451 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Sep-Dec 2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=154253192&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 154253192 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00020184 35L jtl: African Studies issn: 00020184 maglogo: N pubinfo: dt: Sep-Dec 2021 vid: 80 iid: 3/4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 154253192 10.1080/00020184.2021.2000366 ppf: 434 ppct: 17 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.1MB tig: atl: In Praise of Ostentation: Social Class in Lagos and the Aesthetics of Nollywood's Ówàḿbẹ̀ Genres. aug: au: Yékú, James affil: University of Kansas, Lawrence, USA su: Social classes Collective representation Aesthetics Elite (Social sciences) Family values Lagos (Nigeria) sug: subj: Lagos (Nigeria) Social classes Collective representation Aesthetics Elite (Social sciences) Family values keyword: Ówàḿbẹ̀ class New Nollywood ostentation ab: New Nollywood's representation of the social life of Lagos is enacted through Ówàḿbẹ̀ as a cinematic strategy that underscores the contradictions inherent in the politics of pleasure and materialism. A performative display of wealth expressed through the social drama of partying, as well as wild and ostentatious social gatherings emerge to underline this politics of pleasure in the Bling Lagosians, Chief Daddy and The Wedding Party. While these films can be read as iterations of a Nigerian party culture that merely underpins the superficiality and pretensions of an elite class in the country, another interpretive approach is to encounter these films and their fixation on Ówàḿbẹ̀ as paradoxically bringing into existence the importance of kinship and family values, which are often antithetical to the exhibitionist showboating of Lagos party cultures. Demonstrating that ostentation with its associated aesthetics is often the backdrop against which the recovery and discovery of true family is realised, this article makes the argument that this re/discovery, rather than the simulacrum that is often entangled with Ówàḿbẹ̀, is a major means by which Nollywood contests the stereotypical trope of crises in Africa. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of African Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: African Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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