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Pentecostal-Charismatic Christianity in Video Films: Audience Reception And

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Pentecostal-Charismatic Christianity in Video Films: Audience Reception And This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Pentecostal-Charismatic Christianity in Video films: Audience Reception and Appropriation in Ghana and the UK Kofi Asare A Thesis Submitted for the Degree of Doctor of Philosophy in World Christianity The University of Edinburgh 2013 i Abstract Religion has become one of the central themes in the Ghanaian/Nigerian video film industry. The portrayal of religious elements which mirrors the religious dynamics of the audience has been attributed partly to the success and popularity of the films. The video films have also excited religious passions as well as criticisms. The heart of the debate, as the existing studies indicate, is how the various religious traditions (often, Christianity and Indigenous religions) are represented in the video films. Whereas some scholars opine that Christianity, especially Pentecostal-Charismatic Churches are frequently privileged, others contend that the religious delineation in the video films reflect experiential issues; the churches are portrayed in line with the niche, positive or otherwise, that they have created for themselves which is well known to producers and the consumers. This study examines the religious constructs in the Ghanaian/Nigerian video films phenomenon. The main focus is an investigation into audience reception of the video films, particularly among the members of Pentecostal-Charismatic Christianity in Ghana and the UK. It also explores the appropriation of the religious elements in general and Pentecostal- Charismatic narratives in selected video films. An ethnographic research method, comprising mainly of textual analysis of selected video films; participant observation and qualitative interviews, was used to draw comparative insights from a cross section of members of Action Chapel International and Word Miracle International churches in Accra and London. This thesis contributes to the on-going discourse on the Ghanaian/Nigerian video films and Pentecostal-Charismatic Christianity partly popularized by Birgit Meyer and Afe Adogame. Hall’s Encoding/Decoding theoretical framework is used to explore the reception while the ii Uses and Gratifications theory is also adopted to examine the appropriation of the religious constructs in the Ghanaian/Nigerian video films. Notwithstanding the fluid representations of various religious traditions in Ghanaian/Nigerian video films, the findings show that the reception and uses of the religious narratives in the films by the audience comprise of a synthesis of full embrace on one hand and scepticism on the other. It was found that beyond entertainment, majority of the audience who were members of Pentecostal-Charismatic Christianity focus on the religious significance of the video films. Yet, most pastors and leaders in these churches were not comfortable recommending the video films as a good partner in the religious lives of their members. As this thesis focused on only Pentecostal-Charismatic audience, further research on members of other Christian denominations or religions regarding their self-representation in the video films is recommended. This will help to establish if the reception pattern of other religious groups is complex or linked directly with the portrayal trend of one’s religion. iii Declaration I hereby declare that this PhD thesis is my own original research. It has not been submitted to any University for any other degree or qualification. All materials used, both primary and secondary, have been cited in line with the University of Edinburgh research regulations. Name…Kofi Asare…… Date: August 20, 2013……. iv Acknowledgements I begin my acknowledgements by first appreciating the invisible hand of God in my life particularly academic career. God has blessed and continues to bless me through the people I meet in my day-to-day academic life. The first person God has blessed with and would like to thank is Rev. Fr. Prof. Robert White. When I got the scholarship to study in Rome, it took Fr.White three years but with the support of late Monsignor Blaise and Paul Naebo in Milan; he secured all the necessary documentation to enable me to start the programme. However, the long delay and other problems made it impossible for me to continue my studies in Italy. Arrangements were made for me to locate to the University of Edinburgh. Dr Obiama, then Chairman of Nigerian Catholic Community in Rome and the wife Mrs.Obiama were also actively involved in getting all the necessary documents to enable me to relocate as quickly as possible. I am most grateful to their assistance. Again, God blessed me with wonderful people at the School of Divinity especially, the Centre for the Study of World Christianity (CSWC), who helped me in diverse ways to settle in and continue the programme. The lecturers were ready to provide me with any form of assistance to facilitate smooth completion of the studies. Dr Jack Thompson, then Director of CSWC and Prof. Brian Stanley, the current Director of CSWC were very instrumental in my admission into the PhD at the Centre. Dr Afe Adogame went extra mile of making sure I completed the PhD degree at the University of Edinburgh by volunteering to supervise my research when my initial supervisor opted out. I am overwhelmed with gratitude for your help. The constructive comments and suggestions provided by Dr Arkotong Longkumer, the Internal, and Dr Abel Ugba, the External Examiners were very helpful in shaping this thesis v to the current level. Particularly, those written comments found in the copy of the thesis Dr Ugba gave me after the Viva were not only helpful but insightful. I also need to thank the staff at the New College Office and the College of Humanities and Social Science Office especially, Karoline McLean and Liam Forbes for their numerous support. I am grateful to you all for your various contributions in this research. This PhD was also made possible by the Porticus Fellowship Programme for Research in Media, Religion and Culture for paying the tuition fees and other living expenses. The words of Peter Horsfied, the Chair of the Committee, such as ‘I urge you’ or ‘I encourage you’ were very assuring and helpful. I remain grateful to all the committee members for their patience and unflinching support. My acknowledgements will be incomplete without mentioning the Pentecostal-Charismatic churches central in this study. Although Action Chapel International Church (ACI) and Word Miracle Church International (WMCI) were principally used, insights gained from other Charismatic Ministries such as LCI in relation to video films were intriguing. To all the members and pastors of ACI and WMCI, in Accra and London who helped in various ways especially those who volunteered to take part in this research, I say God richly bless you. Family members and in-laws also provided the rest of the financial, social and the moral support in the course of my studies. It will be right to mention Godfrey Asare of House of Commons, Westminster and Josh Ntodi Ababio for hosting me in London and Accra respectively during the field research. Prof. Kofi Awusabo-Asare, University of Cape Coast, Ghana was the one who drew my attention to this scholarship. At the initial stage he provided the other financial needs. And getting to the end of the research, he gave me productive comments on certain aspects of the thesis. I also need to acknowledge my late Father Kwabena Asare Ahenkorah (a.k.a Kwabena Mprah) who promised to support my education to any level but died when I was in Sixth form. My biological father however did not vi abandon me because I felt his presence throughout this journey in dreams especially in times of difficulties. I thank you all for your invaluable assistance. My mother, Abena Nnuro and siblings –Mrs Georgina Odei-Afrifa, Samuel Ahenkorah, Juliana Asare, Gladys Asare and Frederick Ahenkorah were supportive with their encouragements and prayers. My Wife, Henrietta Dadson and children Kwabena, Kwame and Kwasi also sacrificed a lot in terms of my long absence in the course of the studies. I thank you all for the constant loyalty and pray for God’s blessings for us all! vii Dedication To my late father Kwabena Mprah and to The Unsung Heroes of the Ghanaian/Nigerian Video films-The Audience! viii Abbreviations ACI-Action Chapel International AICs-Africa Initiated Churches AIDS- Acquired Immune Deficiency Syndrome BAFTA- British Academy of Film and Television Awards BCFU- British Colonial Film Unit BSPG- Bible Study and Prayer Group CAC- Christ Apostolic Church CAFMI- Christian Action Faith Ministry International CCCS-Centre for Contemporary Cultural Studies CCR- Catholic Charismatic Renewal CMs- Charismatic Ministries CoP- Church of Pentecost DVD-
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