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

Abstract

This 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 filming across Africa. The film which demonstrates a new trend in filmmaking practices in Africa introduces possible multinational collaborations which are likely to offer opportunities for talents and producers to team-up and utilize not only talents and stories but also beautiful locations around the continent. However, such opportunities for the industry to cater for the demand of the audience with stories that people across the continent share and relate to is haunted by the film’s stereotypical representation of women. While I read Dar 2 Lagos as the industry’s effort to unite the two emerging film industries in Africa, Nigeria’s Nollywood and Tanzania’s Bongo Movies, I also highlight the way the film segregates women in the union process. I use a textual analysis to argue that although the current film practice in Africa attempts to ease border crossing, Dar 2 Lagos permits only male stories, ideas, narratives, talents and bodies to unrestrictedly move between African nation-states and beyond. The film’s narrative denies free movement of the female bodies and their passions. This stereotypical practice of the medium perpetuates the past cultural practices and therefore jeopardises a clear envisioning of the future of film production in Africa.