Abstract
There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video films across African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminists counterparts, muscularity always (re)emerge in new trends to dominate femininity. Consequently, there seems a paradigm shift on the (mis)representation of women which (re)enforces Laural Mulvey’s sexual voyeuristic objectification of feminine gender as reflected in near-nude costumes as well as sexual scenes that adorn most Ghana screens. This paper examines Frank Raja Arase’s selected films that are randomly sampled to foreground these voyeuristic imprints.
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