July 2010 Journal of Global Analysis

The Sociolinguistics of a Nollywood Movie Dr. Emmanuel Adedayo Adedun*

Recent trends in sociolinguistic study (Bleichenbacher 2008, Heller 2008, Coupland 2007, Lippi-Green 1997) have focused on the understanding of the ideologies that underpin linguistic variation and how linguistic behaviour in a multilingual setting makes people reveal both their personal identity and their search for social role (Le Page and Tabourett-Keller 1985). Language scholars have interrogated these issues more in face- to-face interaction than in fictional contexts. The movie as a genre of fictional study has been found to be the ‘most apt medium to represent the richness and complexity of real-life multilingual realities’ (Bleichenbacher, 21). This article examines the dominance of English in Nollywood movies and the language ideology that is responsible. The semiotic processes of linguistic differentiation developed by Irvine and Gal (2000) and Mares’ (2003) classificatory strategies for the analysis of multilingual texts provide the framework for the case study of a Yoruba movie in which there is a preponderance of English switching. Also, the distribution of languages in which filmmakers produce their movies in Nigeria indicates that English is dominant. Even when a movie is produced in the local Nigerian language, English words and expressions still feature prominently. The article consequently argues that the dominance of English in Nollywood movies is linguicist as the power relation between English and Nigerian languages is disproportionate. The local and global implications of this are then examined.

Keywords: Sociolinguistics, Nollywood, Movies, Multilingualism, Language Ideology, Linguicist.

Dr. Emmanuel Adedayo Adedun Department of English University of Lagos Akoka – Yaba Lagos, Nigeria e-mail: [email protected]; [email protected] www.cesran.org

* Dr. Emmanuel Adedayo Adedun is a Senior Lecturer in the Department of English, University of Lagos and Visiting Scholar in Centre for Language, Discourse and Communication at King’s College Journal of Global Analysis, London. His research interests are Sociolinguistics and application of sociolinguistic insights to Vol. 1, No. 2, 2010 advertising and film. His teaching and research experience spans one and a half decades. www.cesran.org Journal The Sociolinguistics of a of Nollywood Movie1 Global Analysis

Introducti on This arti cle demonstrates that the use of English in Nigerian (Nollywood) movies is linguicist. Linguicism is a terminology coined by Phillipson to depict ‘’ideologies, structures, and practi ces which are used to legiti mate, eff ectuate, and reproduce an unequal division of power and resources (both material and immaterial) between groups which are defi ned on the basis of language’’.2 In recent ti me, language scholars have focused on the functi onal and insightf ul benefi ts that sociolinguisti c study can off er to the understanding of multi lingual communiti es and the assumpti onsthat govern the language choice of individuals. This has prompted the asserti on that ‘when individual people shift their ways of speaking… they do it… in predictable ways that are amenable to social explanati on’3. Language scholars have analysed language ideology in diff erent ways but none seems to have disagreed with the view that it is the study of how languages and linguisti c styles or features come to have given social and politi cal meanings4. Lukas Bleichenbacher studied multi lingualism in Hollywood movies and found that multi lingualism is not considered to be a universal and mainstream phenomenon as his study indicated that movie dialogues were conducted mainly in English with minor and skeletal occurrence of other languages.5 He outlined a framework for the descripti on and interpretati on of how multi lingual practi ces are represented in contemporary mainstream Hollywood movies while noti ng that his fi ndings and conclusions strictly applied to multi lingualism in Europe and America but that ‘’the insights gained from the work can be tested against the evidence from diff erent sociolinguisti c setti ngs’’. This study therefore att empts to validate these fi ndingsin Nigerian context where English is used as a second language. Bleichenbacher’s study focused on the use of other languages in a context that is almost enti rely English i.e. L1 English context where movie actors are nati ve speakers. This is in contradisti ncti on with the Nigerian situati on. In spite of so many local languages in Nigeria and in spite of the fact that English is a second language, the language dominates movie producti on

1 This arti cle has been made possible by the fund made available by the Central Research Unit of the University of Lagos and the kind permission granted to me by Prof. Ben Rampton and Dr. Jannis Androsopolous to benefi t from the scholarly inspirati on of the Centre for Language, Discourse and Communicati on, King’s College, University of London. 2 Robert Phillipson, Linguisti c Imperialism, Oxford, Oxford University Press, 1992, p. 47. 3 Nikolas Coupland, Style: Language Variati on and Identi ty, Cambridge, Cambridge University Press, 2007, p. ix. 4 J. Irvine, and S. Gal, ‘’Language Ideology and Linguisti c Diff erenti ati on’’,P. V. Kroskrity, (ed.), Regimes of Language: Ideologies, Politi cs, and Identi ti es, Santa Fe, School of American Research Press, 2000, pp. 35-83. 5 Lukas Bleichenbacher, Multi lingualism in the Movies. Hollywood Characters and Their Language Choices, Tubin-

gen, Narr Francke Att empto, Verlag, 2008. Sociolinguistics ofThe Movie a Nollywood

113 114 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of descent but also to Europe, America and the Caribbean where the fi lms are fi lms the where Caribbean the and America Europe,‘‘hawked’’ to also of but African the people descent to just not traced be fi can Nollywood lms of popularity The declared astheworld’s second largest producer offi lm by theUnited Nati ons attglobal secured has been entiand having stride astronomical itself an for on made has industry the age, its of spite In old. decades half a and one barely phenomenon, recent a is Nollywood Hollywood, unlike But an adaptatiHollywood. onof counterpart, American being its name the fi industry; Nigerian lm the to refers Nollywood social practi index to ces. made are languages the how and movies Nollywood producti of the on in country.the in studythis Thus, examines indigenousand languagesEnglish of use the and style in monolingual texts. Considerati ons of language use in in use Considerati fi texts. language form entail on of now monolingual beyond ons in cti style expanded and been fi has in cti texts studies onal language of scope The Language inFicti onalStudies centre ofthisphenomenon. the at be to observed is English as especially movies Nollywood in codeswitching of underpinning ideological the know to desirable signifi is ideologically It also cant. is to achieve certain ideological objecti ves. Also, the use of code-switching by characters unconsciously or consciously speak medium that fi chosen the has tothat maker is interactiassumed lm language) it made indigenous on, other any are (or Yoruba characters of context a When in English languages. Nigerian and English between equati power covert on and overt the producti parti on movie with focus in cular on in deployed firelati power the are interest is equal used languages Of the making. English, between lm onship including Nigeria, in available are that languages the how to discover thus interest-provoking Itis lmmaking. including nati fi life, the onal of that governs the choice. The multi lingual character of Nigeria is reflideology language the ectedinterpret in all aspects to and languages indigenous and English of context The aim of this arti cle is to analyse the language choice of lm makersfi in Nigeria in the romance, witchcraft ,melodrama, Christi anmorality taleandhistorical epic. produced as common video genres like horror, comedy, urban legend, mythic parable, corrupti prosti AIDS, These are like on, etc. vices on, social against tuti living campaigns rural/urban to from and adventure to crime from governance, to religion from contemporary issues as refl ected in diverse themes of their movies. The themes range Nollywood fi lmmakers have applied their talent and imagination to both historical and success and even celebrity, open to just about anyone with talent and imaginatiand talentanyone with celebrity,about even just toand open success on’’ legitifor opportunity genuine mate a – Dream nancial fi Nigerian the called be might what for groundwork the laid about has excited industry get video …the to industry, video not Nigerian hard the it’s ‘‘… says he when this underscores McCall John United Nati ons, “Nigeria Surpasses Hollywood”, Scoop Independent News, 6 John C.McCall, ‘’Nollywood Confi denti al: The Unlikely Rise of Nigerian video Film’’, Transiti8 on, 95, 13, 1, pp. 98 – Ekwenchi, Ogochukwu, Popular Ficti on Television Producti on in7 Nigeria: Global Models, Local Responses. Unpub- 109. lished Ph.dThesis,London, University ofWestminster, Faculty ofSocial Sciences,2008.p.7. 2009), p.1. 7 . This popularity has resulted into insightf ul comments from scholars. from comments insightf into ul resulted has popularity This . www.scoop. co.n z. (Accessed 05 June 6 . 8 . - underly it underly - linguisti– ideologies monolingual that believed att c patrioti cultural achment, etc. sm, is it language, one only in produced is multi text textual a includes When lingualism. on andnow language-internal variati goes beyond now fi of cti language study onal the words, other In assumpti them. of guiding set ons a have these as art of work a in absent even or signalled critipresent, are a that examinati languages cal the of on has an advantage in movies over writt en texts as there is no risk of violati onsof no risk is orthography there as writt texts over en movies in advantage an has evocati for accent L2 on of use The fi mixing. or Yoruba with accent Yoruba lled with the author of an English text can make a Yoruba character speak English that is marked characterizedinterferenceinstance, is transferbyFor that or language phenomenon. base of variety a speak characters make to writers by used strategy Evocati on a is other the that know to audience language the isreplaced unlessother issuesofplausibilitycrop up. allow not does strategy This eliminated. is between an English character and a Yoruba character in English. Automati cally, Yoruba the language of communicati on. For instance in fi on,cti awriterlanguageunmarkedanother an in with been standard mayvariety languagebase the of or enact the dialogue have would that character a of speech the replace to eliminati onwriter the permits four classifi catory strategies for the analysis of multi lingual discourse texts. discourse of fictional in lingual multi analysis the for classifi strategies four catory of assumptiof identi ons governing – it linguistity, c heterogenism, etc. of multi lingual discourse in multi in discourse of is fi lingual texts onal cti languageexclusionevidenceof an laststrategyas The movie. this a in for analysisthe use and language German with ‘’Hitler’’ name the or language Japanese with Japan geographicalsetti signalizati of tools major the ngs are Viewers on. the link may agof fl sociolinguistiand Well-knownlandmarks languages. replaced of guess inferences of c underlie thedialogueandby theopti onofawritt en translati onin subti tles movies, translati In multithe by comprehensionenhanced is is on. problem signifioverlapping ple, comprehension that images the of ers the tackling of ways the of one fithe featurein However, arise. cti will comprehension of problem the Otherwise, on. multibe will too audience the expectedthat is thatit languages used, the is in lingual characters are carefully represented in their languages. When the strategy of presence situati multi for responsible are that in ons captured plausibly are lingualism fi onas cti multithe and individually depicted.contact The also character is society lingual the of reality to be enacted in fi cti on. The characters are made to display their multi lingualism Brigitt a Busch. Sprachen im Disput: Medien und Off multi und in Gesellschaft Medien entlicheit lingualen en, Klagenfurt/Ce- Disput: im Brigitt Sprachen Busch. a Sarah Kozloff ,Overhearing Berkeley, FilmDialogue, 13 University of California Press, 2002, p.25; Bleichenbacher, p.25. 12 Mares, P. ‘’Mnogojazycnaja, kommunikacija kinofiI 11 l’m, in Rossijskaja Jazyk Akade-mija (ed.) Nauk Stredstvokak Ludi, Georges, ‘‘Le ‘melange de langues’ comme moyen sti10 listi que et/ou comme Marqueur d appurtenance dans EditiWahlen,Wien, Sprachenihre Autoren Literatur: Wie Mehrsprachigkeitder Kremnitz,Georg, in Prasens, on 9 11 These are eliminatiare These evocati on, signalizati on, of strategy The presence. and on, lovec, Drava, 2004. Transljacii Kul’tury. Moskva, Nauka, 2000. sur lËurope litt raire, 2001. le discourse litt eraire’’, in A. HudlettJ. Bem and , Ecrire auxConfi ns des Langues, Mulhouse, Centre de Recherché 2004. 9 . In the same vein, a multi lingual text is also believed to have its own set own multi its have a to vein, believed same also the is text In lingual . 12 . Signalizati on is a strategy that permits the viewer to make an intelligent presence which allows the multithe allows lingual which 10 Mares identi ed fi 13 . Journal of Global Journal of Analysis 115 The Sociolinguistics of a Nollywood Movie 116 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of have anavenue to understand socialidenti esandsocial relatiti onships. ‘’sociolinguistias described has Coupland what is people which by styling’’, means c a indicatepreference for Nigerians white values at the which expense practiof local choices, including in language of choice, ce kind This background. the to symbolic, and material both resources, home-grownrelegate to them permits positiand ‘’whiteness’’ attito show ve them makes that tude way in Nollywood a andects in depicted refl are Characters in Nigeria movies. operates incorporati also of on process The resources that are reserved for themajority. facilitimental and uti are the es from legiti minority to of the lized exclusion the mate dominantgroupgroup.the fromminority Throughpracti the this cultural the both ce, expropriatithe of members by symbolic, and material desirable both resources, of on mjr ore o te td o lnug ielg ad stereotyping. and ideology language of study the for source major a resources for interactiforresources identi onal constructi ty social diverse on and ons acti stereotypes.Angela Reyes focuses circulatihowwidely on ng stereotypes as serve can underlies that ideology language diff the understand used to have approaches erent clearly than lived reality” lived than clearly more social processes reveal fi“can mes cticonversati that on someti onal opinion nature or essence in a way that is iconic. Fractal recursivity is a term used to describe toFractal used iconic.termway recursivity is a a that is in essence natureor linkedis inherent are group’s social they todepict which made linguistiare with features the c and transformed images social the and linguisti features between c sign the onship relati where a process Iconizati to erasure. refers and on recursivity of dominant groups which she calls “incorporaticalls she which groups dominant of on” explores the hidden racism in “Mock Spanish” and shows how it exemplifi es a strategy strategy speakers use to generally formulate verbal interactiverbal formulate generally to on. use speakersstrategy which fi “unconsciously-adhered-to-assumpti tutethe ons” of reveal cti consti can on fiof language the cti on approximates lm) and interrogates reality Linguisti(fi it. cstudy contendstudyingexistencetheythat and realityas lived to crucial indeed arestudies However,researchers benefihavethe thatargued from derived ts fi media and onal cti artfself-consciously too (and), balanced ul”.rhythmically too polished, carefully ‘’too fithat out ctipoints he when asbeing onal representati be regarded lmic) (fi may ons in face-to-face interacti on is a major issue in fi onal discourse.cti KozloffThe extent to anti cipates this which the study of fi lmic language approximates reality or language studies Irvine and Gal propounded three semioti c processes ‘’by which people construct people representati linguisti which ideological c diff of ons ‘’by erences’’. semioti processes three c propounded Gal and Irvine J. Irvine and S. Gal, pp. 37-52. J.andS.Gal, Irvine 20 2007,p.30. Coupland, 19 Raymond MarxismandLiterature, Williams, Oxford, Oxford University Press, 1977. Spheres’’,Private and Roxy Public Between Boundary (Leaky) the and Racism, Covert Spanish, ‘’Mock Hill, Jane 18 Television,Film of Encyclopedia An Hollywood: York,GarlandNewin ReyesPeter Hispanics Luis and Rubie, Pub- 17 Pable,“Archaische A. Vergleich:Dialekteim fiFruhamerikanischein Das Adapti lmischen 16 Haw-Nathaniel von oen Ideological and Social Metalanguage: (eds.), al. et Decepti Jaworski ‘’Stylised Adam Coupland, in on’’, Nikolas 15 E.S. Tan, Emoti on and the Structure14 of Narrati ve Film: Film as an Emoti on Machine, Mahwah, Lawrence Erlbaum, Harris andBenRampton (eds.),TheLanguage, Ethnicity andRaceReader, London,Routledge, 1995,p.11 1994. lishing, in Multi media,Frankfurt: Peter 2004. Lang, thorne’sLettScarlet The Dialekte Dialelektubersetzung und (ed.) Crucible”, Helin, The Miller’s I. Arthur in und er Perspecti ves, Berlin,Mouton deGruyter, 2004,p.258. 1996. 15 . Pable considers the study of fiof study the considers cti Pable . conversati onal to be on 18 . By “incorporatiBy . on”, means she 20 These are iconizatiare fractal These on, 14 Coupland is of the of is Coupland 19 16 Researchers 17 . Jane Hill Jane . in advertiin discourse sing television viewer rather than to serve any other communicatiother any serve to ratherthan viewer television need’’ ve the for level entertainment the enhance “to used are English from apart languages other way the show Briti to programmes in holiday choice TV language sh studied al advertiof piece a manyin languagesof use the Jaworski, same vein, the et In sement. behind ideology underlying the is ‘’ethnocentrism’’ multi that ‘’fake and lingualism’’ values and practiand values men’’ Asian of ces regressive oppressive, presupposed the with associated iconically are English, speak demonstratecritiand encourage a failure to others ‘’a and to cize how English, of lack to theory the adapted theory.Blackledge the applied successfully also have scholars usethe territory strategy of erasure to omitaspects which are not intandem with their interest. Other to theMacedonian claim lay that diff linguisti c groups the erent onofthe is theirmulti‘’complex descripti and that sociolinguisti found Macedonia’’. They lingual of c landscape example An es. societi lingual and multi data linguisti diff sociolinguisti c c to erent processes ngs, ethno- these applied setti Gal and Irvine over facts that are inconsistent withanideological scheme. actior persons viti sociolinguistior glossing e.g. by ignoring es, some invisible cphenomena, rendering of strategy a indicate to used term a nati is Erasure the life. of onal aspect every in hindrance functi any should without English on that encouragement tochosen be performshould them of which about offi competi functi cial the from might ons leadto the arising languages on Nigerian ti among suspicion the example, For external. be may which level oppositiprojecti other internal the some an to of on on nls. lihnahr lo sd h ter t suy h lnug cocs of choices language the study to theory Hollywood characters. the used also Bleichenbacher standard English. speak that characters or English of speakers monolingual and characters correlati depicti good a the of was between on there on hand, other the On English. negati ve depicti on and characters that either speak foreign languages or non-standard multi lingual discourse in fi of onal analysis cti texts classifi and Irvine the andMares’ Gal’s for strategies both ideological catory representatiadopts study this Therefore, ons adapted by similar studies encouraged thischoice. understand multi lingualism in Nollywood movies. The fact that it has been successfully in the Western world’’. The present researcher also adopts the theory in an att empt to for multi lingualism is far from being a universal and mainstream phenomenon, at least preferenceunhibited an ‘’showsthat it movies, Hollywood in linguicism is there that or foreign language (a language other than English). the relati onship between negati ve characterizati on and the use analyzed a corpusof non-standard of371 characters in a quanti accent tati veDisney studyof fi lms to examine Bleichenbacher, p.12. 25 USA, States, United Discriminati the and Ideology, in Language, on Accent: an with English RosinaLippi-Green, 24 Adam Jaworski et al. (eds.), Metalanguage: Social and Ideological Perspecti23 ves, Berlin, Mouton de Gruyter, 2004, Kelly-Homes, Helen, Adverti singasMulti22 lingualCommunicati on,Houndmills, Palgrave Macmillan,2005. ‘’ConstructiBlackledge, Adrian Identi of ons Politi in ty 21 in Multi Discourse cal Britain’’, lingual and Pavlenko Aneta Routledge,1997, pp.63-76. p. 21. 2004. Negoti Clevedon,of Identi (eds.), Contexts, ati Multies lingual Blackledge lingual Matters, ti ons Adrian Multi in 25 22 Although his fi ndings neither supported nor rejected the claim . She discovered that advertidiscoveredthat She . of instances with replete is sing 21 . Also, Kelly-Homes applied it to multito it applied Kelly-HomesAlso, lingualism . 24 He found a correlati on between 23 . Lippi-Green . Journal of Global Journal of Analysis 117 The Sociolinguistics of a Nollywood Movie 118 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of classifi ed in terms of number of speakers – Hausa, Igbo and Yoruba. The second group classifiare languages The three. into ed languages Nigerian major three the being st fi exti languages nct nati 9 without and speakers languages ve second two languages, living 510 includes languages. The number of languages currently 500 esti over with world, mated the in Nigeria of linguisti is 521.mostregions This diverse the number cally of one is Nigeria rate is 36.6/1000; mortality rate is 94.3/1000 while the life expectancy rate is 46.9. is rateexpectancylife the while 94.3/1000 is ratemortality 36.6/1000; is rate esti2009 populati the birth puts mate 1.9%; is Growth rate million. 149,229,090 at on is about one hundred and forty million fi ve hundred and forty two forty fi and million hundred forty ve and hundred one about is nati2006 the toAccording other languages. minority populati500 the census, onal than Nigeriamore of on and – Yoruba and Igbo Hausa, – languages major three of up made languages indigenous Nigerian and English in produced are movies Nollywood several otherNollywood movies that feature urban/educated language use. for analysis because it depicts the multi lingual situati on in Nigeria and also represents internatiof subject a actibeen and has concern onal Finally, the on. selected lm was fi prosti theme, its of topicality tuti the which fi of AIDS, because on and chosen was lm knowledge is displayed in the course of interacti on in the local language. Moreover, the whose language of educati on is English, and provides evidence of how this multi lingual fithe Fourth, acceptance. Nigerians educated typifi by language lm local of use the es positi the the of assessment ve underscores and popularity its further raises about awareness and lm which fi Nigeria fi in indigenous lm best for Awards Academy Movie African the of recipient fi a the is Third, lm movies. Nollywood in use language and multi of state lingualism current informati the up-to-date about provides on it Thus, senti and socio-cultural ments the share to language ideology that are present made there. Second, it is a been recent fi has lm, produced in public 2008. the and public fi suffithe been in have contained lm nuances to the the that disseminated is ciently means this What internet. the on it accessed have diff that people of category erent offibox a locati geographical across cuts by popularity as evidenced Its on success. ce The Data ways to evocati on,signalizati onand presence, erasure issimilar toeliminati on. to the present study. While fractal recursivity and iconizati on are equivalent in various linguisti propositiof their relevance of diff and similarity c ons the of because erences about the fi lms and languages in which they were produced between November, between October,and 2007 2008 were produced they inwhich languages fi and the lms about informatiprovides which on (NFVCB) Board Censorship Video and Film Nigerian the The data for this study are of two types. The fi rst is made up of stati cs obtainedsti from was selected for analysis.forselected was producti on released by NFVCB. The second is a case study in which a Yoruba lm, fi 29 Offi28 cial Gazett e (FGP 71/52007/2,500(OL24): Legal ce onPublicatiNoti on of the Details of the Breakdown ofthe 27 NigerianVideo Censorship Filmand Board, Federal Ministry ofInformati on,Abuja,2008. 26 David Crozier andRoger Blench, AnIndex ofNigerian Langujages, Dallas. SIL2nded.,1992 30 2006 Nigerian Census Funke Akindele,Jenifa, dir.: Ayinde, Myyhdeen Olasco FilmsNigeria Limited, 2008 htt p://www.nigeriastate.gov.n 30 . The offi cial language of Nigeria is English while the indigenous the while English is offi Nigeria The of . language cial 26 27 . The period representslatestperiod the The offi . cial stati on movie cs sti This choice was motiwas choice This vated by factors. First, ve thefi lm is fi g 28 . However,the . Jenifa 29

quite essenti al. understoodpoorly rapidlya and increasing research makesbase conti updati nuous ng is madeto analyze thelanguages that are present, evoked, signalledandeliminated. characters’foraccountthe thatlinguisti behaviour. c Procedures, the eff of each In ort age and occupati on. This makes it possible for me to interpret the sociolinguistianalysis of multic factors lingualism in the dialogues of the characters socio-demographic according to a their gender, is Procedure fourth The conditi response. that their factors on multithe to situati possible respond characters the lingual the in lm and created fi on three, I focus on the characters’ use of language in order to understand how individual In Procedure patt the multithe lm world. in for of fi behaviour account ern to lingual atttwo, able I am this, Through scenes. the enti of each in use language to given is on Jenifa socio-linguisti multi to analyse in fi designed cally to lingualism are two ve Procedure of Nollywood movies. productithe in languages Nigerian on other and English of deployment of extent the within the study period i.e. within 2007/2008 calendar year. This enables me to assess the frequency of movie producti on in English and each of the Nigerian local languages Five major procedures were designed for the purpose of analysis. The fi rst accounts for Analyti cal Frame-work authoriti within government es localstates some or districts small in spoken mostly are which state nati and announcing onal languageslocal third groupother consistsbroadcastThe of in news originally English. in used are they because languages” “network as known also are They Urhobo. and Tiv Nupe, Ijaw, Kanuri, EfiEdo, Fulfulde, Ibibio, k, – namely relati languages, state/regional spoken, nine widely of less up vely made is of languages inNollywood withinthecontext ofmulti lingualNigeria. att racti The stati ve. is signifi cs sti it the deployment accountsthat for thesense in cant desire to base this study on current data made the period in which the stati sti cs apply offithe my Board, and productiCensors’ movie in Nigeria, Video of on watchdog cial and stati Film latest Nigerian the the was sti with it becauseavailable cs chosen was fi produced which lmmakers in languages Nollywood movies the from November 2007 to of October 2008. As earlier details noted, this period the shows below 1 Table Languages OfNollywood Movies the focal points ofthisarti cle. productithe in are it that governs ideology language the and movies Nollywood of on and the Niger-Congo. The representatiAfro-Asiati on ofNilo-Saharan, English relatithe c families: language ve tolocalAfrican Nigerian languagesmajor three encompassing Roger Linguisti Blench, “The c Geography of Nigeria and its Implicati32 ons for Prehistory”, Kpppe verlag Koln, 2009, Unah Jim & Momoh “Linguisti S. , C. Adedun , A. Nigeria” Emmanuel in Decision Language Policy and Plurality c 31 and pp. 187-206. 2006, pp.68-91 Lagos, of University Arts, of Faculty Lagos: Intergroup Tensions. IntegratiV, Vol. Nigerian Discourse: (eds.), ve determine the extent of deployment of English in the movie. In ProcedureIn movie. the in English of deployment extentof the determine 31 . The historical processes underlying Nigeria’sunderlying processeslinguistihistorical The . diversity remain c 32 The linguisti c diversity in Nigeria is a microcosm of Africa as a whole, Journal of Global Journal of Analysis 119 The Sociolinguistics of a Nollywood Movie 120 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of citi citi Igbo the only not and – es es”. fimentality,commercialwhose aggressive acti an of Nigeria’sof eld expression is vity the are videos Igbo “the Okome, and Haynes to According English. in are period this within producers Igbo fi by the produced Therefore, lms audience. wider a reach to traditi world-view and moti on language English in expression nd desire fi by the vated fi ethnic Igbo that fact the to due producti be lm may This period. study the within on featurenot languagethatdid only the is Nigeria,in Igbo threelanguages in the major signifiEfi is of It and percent. that Ibibio note 0.08 while to accounted for cant each k produced within the same period. Hausa total accounted for lms the 5.74 fi percent, of Bini 3.17 percent percent 53.38 for accounted which Yoruba in fi produced the lms to only second was This period. study the within fi Nigeria total in the produced lms of percent 37.36 for accounted language English that table the from seen be can It represented inrecent Nollywood producti ons. usedin producti not movie over are while languages present indigenous are hundred six languages on ve fi only that means This languages. fi indigenous and ve English fi producti for on consisti lm used ngof were languages Six period. study the within multiof level industrythe indicates movie clearly Nigerian table the The in lingualism which Bini language accounted for 3.17 percent, that is 94.88 percent of the total fi of out lm percent 3.34 was period study fi the productiof within lm share on minority The period. fi study in producti the featured lm that within languages on indigenous fionly were Hausa, there ve Nigeria, – in languages minority languages 500 over major and – Yoruba three and Igbo the of out Again, “emergent”. is language the in fiproducing of culture lm the that explain cited) (as Okome and scanty.Haynes very statithis in sti that is shows lm producti language data However,fi inHausa the cs. on stiis language evident their ll through worldview and culture their project to people the interestof 1960’sThe the . to back dated it and popular very Yorubabeen in had Nollywood, producti lm of fi advent on the Before videos….’’ early fitheatre and lms contests,farcicaldominatedYorubathatdramas,juju and comedyreligious travelling traditiidylls, village of genres the beyond onal expanded has repertoireYoruba video Onookomethe Okome,and Haynes“ Jonathan wordsof Yorubathe the In of people. fiproducing of vehicle veritable refl lms ecti traditi cosmology, and of the culture ve on Haynes, Jonathanand Okoome, Onookome (eds.),Nigerian VideoFilm,Jos,Kraft Books Limited,33 1997,p.35. LANGUAGE ENGLISH YORUBA HAUSA TOTAL IBIBIO EFIK BINI Source: AnnualReport ofNigerian FilmandVideoCensors’ Board Table 1: Nollywood Movies AndTheirLanguages OfProducti on 33 In comparision, Yorubacomparision, In becomea languagehas NUMBER 1167 623 436 67 37 1 1 PERCENTAGE 53.38 37.36 5.74 0.08 0.08 3.17 100 recent ti mes’’ in Nigeria in seen been box-offi not a has as which up of ending kind the success, ce situati recognizable easily- and mine-fi clichés ons, potent well-worn a of through eld name is a corrupti on of the Anglo-Saxon ‘Jennifer’, the movie succeeds in meandering whose Jenifa, protagonist, the fi ‘’Through security. and relevance nancial social for cherished brash ways are uncouth and vulgar and do not fi t into their desperate quest ‘’refi ned’’that citygirls adopt give and herthenecessary orientaticampus that on her tibruised village the from brings esteemshe over me three the from learns She me. ti fishe foras tortuousher is girl’’ ‘’big a becoming self- importance aura and of the nds of The process her. prosti consumes campus intoeventually tuti which her on leads It Jenifa (2008)was writt en by Funke Akindeleanddirected by Myyhdeen Ayinde A Sociolinguisti cAnalysis OfJenifa Yoruba, Jenifa, asacase study. in produced movie award-winning an and popular a secti uses next which the on of inflare movies multiNigerian by How uenced English. of practi lingual focus is the ces by thenuances as multivated infl from moti especially lingual free uences, is it that as the language of highest fi lm producti on within the study period is not an indicati on movies within the study period in English. The fact that the stati their sti all made have cs may presented Igbo menti Yoruba of already speakers have how I oned Nigeria. in groups ethnic major the for also but languages minority producti the for only not on communicati movie wider in of on language the becomes thus English shores. their of these languages may have been done in English so that the languagesengagenot do fi in alltheremaining of lmproductispeakers Not on? exactly. that Film producti mean it on byspeakers Does languages. minority producti in on these possibiliti es is assessed on a three dimensional scale of high, medium and low. A of each of occurrence of extent The language(s). other interspersedwith and English by dominated scene a having optiof possibility the on the handles while English/Other-Languages of language Nigerian other with co-occurs language Yoruba where the scenes for opti accounts Yoruba/Other-Nigerian-Language on expressions. and where English is the major language of discussion with occasional use of Yoruba words optithe hand, other expressions.the On English-Yoruba of on scenes accounts the for and words English of preponderance a also is there where and used language major optiThe Languages. of where account on scenes to for is the Yoruba-English is Yoruba Yoruba-English,English-Yoruba, Yoruba/Other-Nigerian-Language, English/Other- and were created to account for linguisti c behaviour in the scenes.of the Thesesignifi are cance ofYoruba, its language. Six English, possibiliti es of language choice andpost-producti combinatithe added have I because but clip on movie on the in scenes 68 are There Analysis OfLanguages UsedAccording To Scenes is a story of a village bumpkin, Suliat, whose desire to live an ostentatian live to life desire city whose ous Suliat, bumpkin, village a of story a is Wole Oguntokun, ‘’MovieReview: Nigerian Playwright Deconstructs Nollywood’s ’Jenifa’, AfricanLoft– 34 – htt / p:/ www.africanloft .co m –(Accessed30May 2009),p.1. 34 . fi lm can circulate beyond Journal of Global Journal of Analysis 121 The Sociolinguistics of a Nollywood Movie 122 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of ‘medium’ and ‘low’ occurrences oflanguage choice. ‘medium’ and‘low’ es of ‘high’, possibiliti dimensional the three to refers ‘extent’ combinati where on their extentof the and nature the scenes, the of each in used are that languages the indicates possibiliti It these movie. of the each in of es occurrence the shows Table2 of communicati on. main language the than other language another fl of just ashes combinatilanguage are or there language where a on of use the of possibility the to the same language or combinati on of languages in a scene. The ‘’low’’ rati ng is applied or language combinati on. The rati ng is ‘’medium’’ if most of the characters converse in language of charactersthe possibility conversesame all rated the if is in “high” scene SCENE 10 11 12 13 14 15 16 18 17 19 20 21 22 23 24 25 26 27 28 29 30 9 8 7 6 5 4 3 1 1 PartyHall PartyHall SETTNG Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Market Village Village Home Home Home Hotel Hotel Hotel Bar Table 2: YOR X X Language UseOpti onsAccording To Scenes ENG X YOR/ENG X X X X X X X X X X X X X X X X X X X X X X X X X X ENG/YOR YOR/ONL ENG/OL X Medium Medium EXTENT High High High High High High High High High High High High High High High High High High High High High High High High High Low Low Low SCENE 31 32 33 34 36 35 37 38 39 41 40 43 42 44 45 46 47 49 48 50 52 51 54 53 55 57 56 59 58 60 62 61 63 64 68 67 66 65 69 PostProductn PoliceStati on Restaurant RoadSide Hospital Hospital Hospital Hospital SETTNG Campus Campus Campus Campus Campus Campus Campus Campus Campus Campus Market Garage Village Village Village Home Home Home Home Home Home Home Home Home Home Offi ce Offi ce Panel Hotel Party Bar YOR ENG X YOR/ENG X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X ENG/YOR YOR/ONL ENG/OL X X EXTENT High High High High High High High High High High High High High High High High High High High High High High High High High High High High High High High High High High High Low Low Low Low Journal of Global Journal of Analysis 123 The Sociolinguistics of a Nollywood Movie 124 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of the remaining 28 characters relate either collecti is either charactersrelate here 28 task individually.remaining The or the vely platfthe provide who that interacti– them -Becky,Francafor Tracy with orm and is mentors it and on her and protagonist), (the Jenifa characters, major four are There extras. as appear secti rest this The of on). focus (the dialogue movie the in engage There are 105 characters in all that are featured in the movie. Only thirty two of them The Multi lingualBehaviour OfCharacters language orinformal buyingandsellingisdoneinPidgin(English). market and Nigeria in Igbo the with associated is business cloth used that sense the toenough distort flthe of ow communicati is This very in not. real does on, she if even strong not are they but interjecti not the understands or Jenifa ons whether clear it make not does movie The strong). very are you (Prett know idike” you na girl, ima y seller and Bobo Ibo also responds in English but with Igbo (Ibo) interjecti ons: Igbo “Asathe nwa Ibo, Bobo to English (Pidgin) Yorubabuyer,speaks the Jenifa, clothes. used English/Other (Pidgin) Nigerian language (Igbo) is used twice degree.in the market when the protagonist low goes to buy a of though usage, Yoruba-English aretwoother of instances there as the village even and hospital offi restaurant, side, road ce, the setti ngs of the movie – campus,across home, hotel,Yorubacuts bar,and party hall,English police statiof co-occurrence The English. on,Yorubaand garage, of mixture heavy contain movie the representi in scenes scenes 62 total the of percent 89.86 ng Yorubaas monolingual audience a atdirected not is movie the that all at doubt no is There audience. target preferenceand language about proved be to point a is there writtis etc.)movie, the of making the in rolesvarious that suggests This English. in en and post-producti on informati on (about producer, director, writer, persons whomotithe playedsignal to producer. the of ve moti This that the clearerpre- fact by made is ve used, the monolingual Yoruba audience is automati cally cut off . This may be exclusivelya strategyis English where instances are there when But monolingual. and bilingual both audience, target antiYoruba will to it one makes that Yoruba cipate movie a as fi lm. This raises the issue of moti ve and target audience. The fact that communicati on. One of them is an adverti sement that appears in-between acts of the illiteratebe farmers. Two arescenes recordedlanguageof a as having English as used to note that the two scenes are set in the village where the characters are depicted to signifiis It used. wholly Yorubawhereis scenes cant two only are there movie, the In LANGUAGE POSSIBILITIES YORUBA/Other Nig.Lang Table 3: ENGLISH/Other-Lang YORUBA-ENGLISH ENGLISH-YORUBA ENGLISH YORUBA TOTAL Opti onsOfLanguage UseInScenesAccording To Percentage OfOccurrence NUMBER OFOCCURRENCEIN SCENES 62 69 2 1 3 - - PERCENTAGE TOTAL Jenifa 89.86 0.00 2.90 0.00 2.90 4.35 100 is classifi ed their multi lingualbehaviour. The table below provides thesummary. to analyze the speeches of the 32 characters with a view to identifying the patt erns of Jeni’s moth Owonikoko Gb.BigGirl Franc’s sis Jeni’s fath Character Student 1 Student 2 Student 3 Student 4 Student 5 Bobo Ibo Herbalist Waheed Lecturer Badmus Demola Shakira Doctor Baba T Franca TOTAL Funmi James Becky Lekan Jenifa Iyabo Tracy Dayo Prof. Tutu DPO Skid Number of Table 4: Scenes 164 26 22 41 1 1 3 4 1 4 4 5 1 1 8 6 3 5 5 1 1 1 2 2 1 1 2 1 2 1 1 1 1 Characters’ Turns AndTheirLanguage Choices Number of Turns 1,931 193 398 324 562 11 21 33 13 63 68 53 16 19 13 17 11 11 32 9 8 9 7 3 7 7 3 6 5 3 3 2 2 121 102 256 754 Yor 17 63 56 28 78 10 15 12 6 7 8 6 6 6 8 4 2 9 7 5 3 4 1 1 1 1 - - Language Choices of Characters’ Turns Eng 13 40 3 3 5 1 6 3 3 3 ------Yor- 112 270 204 297 Eng 969 11 16 42 14 2 5 5 3 7 4 2 7 1 3 1 1 6 4 1 3 1 1 1 - - - - Eng- Yor 12 29 3 5 6 3 ------Yor/ ONL ------Eng/ OL 2 2 ------Journal of Global Journal of Analysis 125 The Sociolinguistics of a Nollywood Movie 126 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of behaviours are calculated inpercentage characters’ andpresented inthetable below. descripti lingual the multi vivid on, more a For make. they languages of the number of turns each takes in the movie dialogue are weighed against the choice(s) the turn-taking analyse strategies to of the characters. used The are number of scenes in which choice each character oflanguage appears and occurrence possibiliti of es six the scenes), to according secti use the language (in under explained on earlier As PERCENTAGE TOTAL CHARACTER Jeni’s moth Owonikoko Gb.BigGirl Jeni’s fath Franc’s sis Student 1 Student 2 Student 3 Student 4 Student 5 Bobo Ibo Herbalist Waheed Lecturer Badmus Demola Shakira Doctor Baba T Franca Funmi James Becky Lekan Jenifa Iyabo Tracy Dayo Prof. Tutu DPO Skid Table 5: Percenti leAnalysis OfCharacters’ Language Choices 78..94 45.55 31.48 30.40 40.41 44.44 96.55 61.53 51.51 33.33 54.55 66.67 75.00 58.82 46.15 88.89 57.14 66.67 81.81 45.45 42.86 39.09 66.67 40.00 33.33 33.33 50.00 50.00 0.00 0.00 37.5 100 100 Yor 86.67 14.29 0.53 1.85 0.25 2.59 4.76 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 2.07 0.00 9.38 0.00 0.00 0.00 0.00 0.00 Eng 100 LANGUAGE CHOICES IN% 62.96 67.83 58.03 66.67 38.46 48.48 52.38 45.45 33.33 21.05 41.18 53.85 11.11 42.86 33.33 18.18 54.55 57.14 57.34 33.33 43.75 60.00 66.67 66.67 50.00 50.00 52.8 0.00 1.72 0.00 12.5 0.00 0.00 Yor- Eng Eng- 1.07 3.70 1.26 1.55 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 1.50 0.00 9.38 0.00 0.00 0.00 0.00 0.00 Yor 0.00 0.00 0.00 0.00 0.00 0.00 Yor/ 0.00 0.00 ONL 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 13.33 Eng/ 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.10 0.00 0.00 0.00 0.00 0.00 0.00 0.00 OL . Tracy: S’owa okay? (Are youokay?) 3. Becky:Tracy Darling! 2. 1. provided inbrackets immediately aft ertheutt erances). expressions in the utt erances are underlined while the translati on of the erances is utt (Key: this: illustrates below extract The Yoruba-Englishswitching. with replete are another one other educated characters and and indeed the communicati ve interacti students on of the educated characters campus with her fellow communicati interaction with ve Jenifa’shand, other the On dwellers.rural uneducated are knows she whom mother switching in Yoruba utt erances is minimized when conversing with her own father and compati bility operate among the characters. and For instance,awareness Jenifa’s language interlocutors’ penchant of for English fi principle the this through lm, All Pidgin. English. She then initi ates the discussion in English, the form of it that she can control, relevance,is social of language the is which language, campus that reasons or knows linguistitheir of certain be affi c and she the campus to liatihas come she on. Second, not may she a difflinguisti whom is interlocutors’ Nigerian from that her group from is c erent she that recognizes optishe First, this on? choose she does Why English. Pidgin in converses sister Francisca’s end, conversati the the to of on beginning the from Right them. from Francisca about enquiries makes and roommatessister’s her own language strengths and limitati ons. Francisca’s sister arrives at the campus, meets language opti ons and abiliti es of his or her interlocutor(s) and, a recogniti the conditi of awareness is his/her language (Pidgin) on of his/her by of oned choice percentcharacter’s A English. 100 are turns whose Sister Fransisca’s of speeches the in evident more even is English Pidgin of use The it. use that people the eff with mingle to ort the educati onal insti tutiin formally learned be ons. Theto methodneeds thatof acquiring English it standard is unlike by immersion,learning formal an individual’srequire not does it citi country; communicati urban the informal the of and es in trade to on group in Nigeria together.ethnic every However,binds pidgin is the that type of English that is language freely available the is English as him with communicate to franca lingua the use to than choice no have toocustomers His language. Igbo his with this Nigerian lingua franca, English, to do his business of used clothes. Of course, he mixes of his origin and language. Being a person from another linguisti c group, he adopts the the two scenes where he appears, he combines English and Igbo. His name is indexical Ibo, Nigerian whose turn-taking device falls Other into the category of and English with Other Language. YorubaIn in occur that signifiis percent.It 0.00 Language, turns character, one only is there that note cant to Bobo no are there while percent, 0.10 negligible, are Languages Nigerian Other and English Turnspercent.in recorded 1.50 Yorubaswitching, with English in recorded turns likejust percent, 2.07 minimal, very of turns recorded in Yoruba (39. 0) by almost 20 percent. Turns recorded in English are ahead is choice language percent,this 57.34 With choices. language other the of any analysisThe reveals that Yoruba switchingEnglish with are turns more prevalent than Tracy: The The utt erances by the characters are numbered serially from 1 to 20. The English Becky Baby! Journal of Global Journal of Analysis 127 The Sociolinguistics of a Nollywood Movie 128 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of . Tracy: Oh, intruder wa around, magist elater 5. Jenifa: Hi 4. 10. Tracy: Becky:Okay 9. Tracy:wa Mo Becky, pa. e. (I’mjeki nri jo alright.Becky, pleaselet mehave aword 8. Jenifa: Tracy, wa booni?So okay 7. Becky: 6. 17. Franca: 16. Becky: Yes! 15. Franca: Becky! 14. Jenifa: Hi,‘Franklin 13. Becky: HeiFranca! 12. Franca: 11. Becky: Kowahala. si (There is no problem.) fourth expression where the English greeti ng form “hi” is used. This is also used in used also is This used. is greeti “hi” English form the ng where expression the fourth in sustained is trend This okay?). you okay?”(are wa “so expression hybridized phatiEnglish and with juxtaposed been has This communion. c produce the greetito Yoruba English form an ng is okay?” you “Are English. structurally is expression third also include the acquired English names of the characters are rendered in English. The which the characters use to demonstrate inti macy and solidarity. The expressionsEnglish which switching or the other. The fi of rstform twoone haveexpressions turns areor exchangesstatements the ofall endearment 18), and 15 11, (8, exchangesfour from Apart Franca. Tracy,and - Becky,Jenifacharacters undergraduate four by exchanges verbal twenty are there campus), the at Jenifa’sarrival on scene (the extract this In 20. Becky: Franca, mi o 19. Franca: 18. Tracy: Nnkan temi gan si nba so nisinyi niyen, (It’s exactly the matter I’m discussing yi wa sinu yara yi. Iwo naa ri naa Iwo yi. yara sinu wa yi with you.) (Okay,em, Ihopeyou have met Sulia,theladyIdiscussedwithyou two days ago?) gist you later.) see theproblem shehasbrought into thisroom.) now? Despite our agreement, you still brought this lady into this room. You too can occupants ofthisroom.) yi. (Franca, I don’t like this behaviour of yours, after all, Tracy and I are the original you called, local champion,idiot,get upquickly.) are discussing it quietly. Is that what all of you are discussing quietly? You, what are ya, eh, kinni won npe e, with her). (Becky, what isallthisrubbish?You into still ourroom, brought ehn?) this“thing” Becky, kinni gbogbo eleyi Becky, kinni gbogbo girls! Hello Lo nba so kelekele.so kelekele nba nso Lo yin gbogbo nkanti Se ya,ya, o o niyen?O Okay , Sulia, e, o eo e ti o pe lero mo em, , ’! make yourself comfortable, you hear? like bi o se nse yi, sebi emi ati Tracy ni local champion, idiot rubbish problem now? Sebi gbogbo wa ti jo ? (Tracy, how are you? Are you okay?) ui, m t m sr e u yn nijeta? yin fun e soro mo ti omo Sulia, meet yi na? O tun mu kinni yi wa sinu yara wa, ehn? to gbe wo yara yi o. (Becky, what’s all this all (Becky,what’s o. yi yara wo gbe to , o ya dide, dide, o ya, o ya, o ya. (You . (Oh, an intruderan (Oh, . around, is I will agree original occupant inu ile , afigba to mu omo The next secti on is focused on the impact of socio-demographic factors onthe factors ofsocio-demographic the impact multi on lingualbehaviour ofthecharacters. focused is secti on next The “bawo (how are ni” you?); “s’owa okay?” (are you okay?). mixing: English in Yoruba- greeti given intentilater and ng in Yoruba on realized same fiduplicati rst the a of is on there where expression seventh the in example an see expressionwaythe a makeof in thatwill to accommodate word. it English We an can greeti characters the used, ng is form sti alternati an use needto ll there is feel ve form twelftthe traditi thirteenth and fourteenth the h, expressions. when Even onal Yoruba CHARACTERS Jeni’s moth Owonikoko Gb.BigGirl Franc’s sis Jeni’s fath Student 1 Student 1 Student 3 Student 4 Student 5 Herbalist Bobo Ibo Lecturer Waheed Badmus Demola Shakira Doctor Baba T Franca Funmi James Lekan Becky Jenifa Iyabo Tracy Dayo Prof. Tutu DPO Skid Table 6: Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult Adult AGE Socio-Demographic Factors OfCharacters SOCIO DEMOGRAPHICFACTORS GENDER Female Female Female Female Female Female Female Female Female Female Female Female Female Female Male Male Male Male Male Male Male Male Male Male Male Male Male Male Male Male Male Male Student/Self-Employed Student/Self-Employed Student/Executi ve OCCUPATION Not Revealed Not Revealed Not Revealed Not Revealed Not Revealed Not Revealed Not Revealed Fake Student Comedian Medicine Lecturing Lecturing Lecturing Herbalist Farming Farming Student Student Student Student Student Student Student Student Trading Trading Trading Trading Police Journal of Global Journal of Analysis 129 The Sociolinguistics of a Nollywood Movie 130 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of Tracy, oneofthethree mentors, tells Jenifa: campus. the at arrival upon mentors her by Jenifa fororganized session tutorial the in evident becomes This culture. the also but language the just not of mastery their refl ects more in the atti tude of the female characters who areinjecti out to deliberately utt ng their into Yoruba presti of A lot erances. fl aunt isge while and this base toEnglish the att ached English make and English off in start femalestalk that their simply is this for reason The females. the for cent per 89.66 against as males the for cent per rati the 10.34 as o is results opti astounding English-Yoruba yielded expressions of on The characters. female the of cent per relati 54.32 expressions Yoruba-English to ve used characters male the of cent per 45.68 while characters female the of cent per range. 47.50 per cent of the male characters used English expressions relati ve to 52.50 optithe utt English of ons anderances Yoruba-English same the within erances falls utt are given the same language opti on. The language choice of the two sexes in terms of females used Yoruba language opti on while only 22.41 per cent of the male characters opti the language of same cent per the 77.59 used charactersthat on. male the than more are Yoruba speak to made are that characters female However,the 43.75. to 56.25 characters,female the than more are characters male gender,the of terms In these adultsrefl ectsahighdisplay of Yoruba-English switching. qualifiones the naturally practi are to who ed prosti ce of choice The language on. tuti adults emphasize to made totally is age of factor the Therefore,students. university tobe not expected prosti are in involved tuti children Secondly, be on. to expected prostiis which concern central its to due tuti the In on. not are children instance, fi rst Childrenarecompletelymovie. excludedthe of fifromtheme the the with align to lm signifi in occupatiare cant on and stratisocial genderanalyzing age, In catifi world. of movie in the on factors demographic social The OCCUPATION GENDER SOCIAL DEMOGRAPHICFACTORS AGE Table 7: Percenti leAnalysis OfSocialDemographic Factors OfLanguage Choices Not Revealed Comedian Lecturers Herbalist Students Children Farmers Traders Female Doctor Police Adult Male 21.25 12.50 37.50 43.75 56.25 6.25 3.13 3.13 9.38 3.13 3.13 0.00 100 31.43 39.09 77.59 22.41 2.07 6.16 0.21 0.36 0.83 0.62 0.21 1.76 0.00 Yor 52.50 47.50 0.16 0.00 0.00 0.00 0.16 0.16 0.00 0.67 0.93 2.07 0.00 Eng LANGUAGE CHOICES , the factor of age is made is age of factor the Jenifa, 54.32 48.99 57.34 45.68 0.93 0.10 0.05 0.00 0.93 0.73 0.16 1.14 0.00 Yor- Eng 89.66 10.34 Eng- 0.00 0.00 0.00 0.00 0.00 0.16 0.00 0.00 0.00 1.35 1.50 Yor 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 Yor/ ONL Eng/ 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.10 0.00 0.00 0.00 0.10 100 OL Sulia, given to herby herparents, to afanciful andmore glamorous name,Jenifa: Becky, another mentor, tells Jenifa to change her name from the nati ve Nigerian name, to meet three men,theconversati on confi rmsthis fact: liketo make known.For this instance, at hotelthe where TracyBecky leads Jenifaand tobelong theclassofuneducatedthey and too, consciouslyor unconsciously, will not do they that indicates This with Yoruba. interacti mixed their or alone either ons in used is English that shows also men these of choice language the None-the-less, money.the getTherefore,identi to their do they what in not and important. less is ty their money in only are interested men the with prosti interact student who tutes, prosticampus the signifi The tutes. characters, the female that is this about thing cant of whom patronize most male characters all identiare unrevealed have These es. ti them. However, seven characters representi ng 21.25 per cent of the movie characters one of them, two of them patronize the herbalist and the farmers are parents to one of against them, the lecturers conduct examinati ons for them, theinvesti comedian ispolice a friendthe to students, allegati gate the to brought sell ons traders The students. campus in prosti engage who students tuti the on. on Other categories centred of workers is are made movie to complement the the acti as understandable is esviti ofthe This cent. per 37.50 highest, the are occupati characters of student terms the In on, Jeniff er). likenames Becky,hence language the of Tracy, adaptatiJenifaFranca(an and from on profi cient in English; one’s name must also be associated be to with enough the names not of is honour, the it and owners att respectability to of one height for the that ain is logic ideology. The and culture a as but language a as just not English, to Nigerians This extract illustrates the atti tude of the leading characters and indeed most educated yi gan, Peju lo nje nile, nje lo Pejugan, yi ni but nile e loruko Izodua yi, nwo to name. your with problem havea I what, Imean,you know, asin,what’s up….) your interlard of,instead mean, to you hello, example, for need words, English Yousome with speeches mannerisms. language your like don’t I (Then, know, asin,what’s up…. youinsteadof, mean, example,mean, Foryouhello,I what,e. oro ninu diedie oyinbo lati awon need so O ma e. like o emi yen, nso ma to ede awon Then, yi paderilodo Gbogbo First Man: Hello Baby! E kaabo, in schoolI’m known asBecky. Soyou must change your name.) your name because you will recall that even me, I wasn’t Becky from home but change to need will too you So, Peju. is home from name her Tracyalso, this this Franca, her name from home is Izodua but in school, she is Franca. You see (I have a problem with your name. You will need to change your name. You see ni monje. orukoe becauserantiO ni emi but pe nile Becky se kin o mi gan, So you must change your name. school Big Girl ,Tracy lo nje. So, iwo naa, O ma O ,Tracynaa, iwo So, nje. lo . you are welcome, you are welcome O ma O schoo latineed l, Franca lo nje. S’ori Tracy to nwoS’ori Tracyto nje. lo Franca l, oruko e. S’oriorukoe. change Franca latineed schoo . Mi o ba oju l, Becky l, change Journal of Global Journal of Analysis 131 The Sociolinguistics of a Nollywood Movie 132 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of it ormakingto occurinYoruba speeches. startithe and ng pointpossible for this isas a conscious orrespect unconscious effmuch as get ortto to start withsides English by using both on important is it Therefore, a negoti requires the of this for on rstfi me and meeti ladies ati ti are identi the ty. ng men the that stress to important is Yoruba.It aid to used been has that English is it case, this In emphasis. and attspeaker’s clarity a for empt in another of rescue the comesto readily one language as of lingualism multi a by-product reduplicati is on kaabo” greeti‘’e Yoruba form which is reduplicated in English as “you of ng are welcome” and is said two ti use the mes. Secondly, explains This welcome. feel ladies the fi signifi is rst man two in cant Firstly,ways. make men are to the shows anxious how it the by The sentence educated. rst fi are men the that interacti reveals verbal It ons. their in English of deployment the indicate men three the of extractedspeeches The was the only indigenous language that was heavily subscribed to in the productithe in towasheavilythatlanguagesubscribedindigenous only wasthe of on The offi cial statisti cs of the Nigerian Film and Video Censor’s Boardlanguages. Ishallreturn revealed to thisshortly. that Yoruba these of growth and survival the negati on has consequences this ve and Nigeria in thatthereunder-uti an is lizati indigenous the languages of in on productiof movies on and Ibibio EfiBini, – kthree – were representedonly in movieNigeria, producti in languages on. The conclusionminority one can drawnumerous from this is the Of all. at producti for used not on was Igbo used. sparsely producti was movie Hausa while on Nigerianmajor languages Yorubaand Hausa, Igbo – Yorubaonly – was heavily in used Efiand Yoruba,– Ibibio languages Bini, Hausa, three the discovered of that also is It k. that there are only six languages that are used in Nollywood, English and fi ve Nigerian found study the the regards parti rst, As fi a movie. in cular used are that languages of number the with deals second the while industry movie Nigerian in used are that languages of number fi the The to types. relates two rst of are movies Nollywood in framework for the analysis. The study reveals that the evidence of multi lingual practirepresentatiideologicalGal’s(2000) ce and linguisti Irvin of ons c diff the provide erences classifi multi of analysis catory strategies the for in discourse lingual fi and texts cti onal with parti cular emphasis on emphasis parti cular with Nigeria in producti movies the of in on used languages the examined has study This Conclusion ti me.Acti onhas started.) Third Man handle two menat thesameti me.Isaw itlast ina lm. fi Man Second I haven’t met thesefaces withGbogboBigGirl. (FirstMan ti bere. Third Man Third leekan naa;inu Second Man : Hello Baby! YouBaby! Hello welcome.: arewelcome,youarewelcome,youare : Look! My dear, I’m the one that can handle two women at the same : Wo,: : Iyen ma wa : That one is romanti c. That translates to the fact that you can you that fact the to romanti translates That is c. one That : fi lmnimoti rilast. my dear my , emi ni mo le mo ni emi , romanti c ke. Iyen ni wipe iwo le Jenifa. A combined applicati on of Mares’(2003) of applicati on combined A handle eeyan meji leekan soso. leekan meji eeyan handle eeyan meji po Acti on

noti ced when a language doesfi not is The appeal sign oblivion. intorst to go athey youngbefore processes generatisome follow disappear,they on of people just and when not the do languages that reveal study language diff of from aspects Insights erent turn ofthecentury. Nigerian languages among over 3,500 languages includes of the world that are Instilikely that to disappear by Worldwatch the tute, group, research based States United language is acquired, but only at the expense of the natithe of expense the at only but acquired, is language language’’. ve re- a is This languages’’. local affi the of decline rmati and regression on of the an earlier point made by of Ng and Bradac that expense “competence language the in the foreign English at the of ascendancy and dominance the for term my is polyglossia languages faceextilanguages ncti on. newspaper, natiNigerian A onal languages. indigenous of growth and sustenance the to danger situati on. The implicati on is that if no appropriate response is given, it portends a great atti the of proud even are people most and elite the among especially popular is tude and this that is tongue unfortunatething The English. is mother of mastery claim they language their only the speak cannot but understand they claim who Nigerians ‘’defectibestat or bilinguals’’. ve Defecti describing term for own my is bilingualism ve resultant eff ect is that most children are now monolingual Nigerian speakers of English gain mastery of English while discouraging them from learning their fi rst language. The (forthcoming)Adedun foundhas thatparents consciouslyencourage childrentheir to the powerful infl uence of English in Nigeria, which is also refl ected in Nigerian movies, what Bamiro describes as ‘’substracti ve polyglossia’’. to situati led This has movies. refl on the is in this ected and use to strives everyone that alanguage educatiis with opportuniti prestiIt associated and on, is class es. that ge, language super a is it Nigeria; in language a just not is English intrusions?). (or switching English of lot a have also languages indigenous in produced are that Films Majority ofthelinguisti cgroups inNigeria prefer to produce theirmovies inEnglish. producti movie in on. involved distributi languages the of in on evident is Linguicism of power andresources whichare ti ed to language. perspecti ve – the perspecti ve of linguicism, ideologies and practiconsidered cesstudynot this stylistiis a as of unequal division c strategy; rather, from seen is ideological an it in switching thatstated be should Yoruba.It and English between switching of types multithe that conclude toconvenient practi is lingual in ce in nearly all the scenes regardless of the topic being discussed. From the fore-going, it all the characters found it expedient to use English in their speeches and this happened to comprehend because of the degree of switchingEnglish that is found there. Nearly though study to understand the multi lingual selecti practi of the on to ce in specifi led This c movies. The Nigeria. study reveals in that movies Omolola Awe, Omolola ‘’Hundreds ofNigerian Languages Face Exti ncti37 on’’, ThePunch Newspaper, July20,2006,p.3. Communicati InflVerbal Language: Social Park, in and Newbury Power on J.Bradac, uence, James and H.Ng Sik 36 Edmund O. Bamiro, ‘’The Politi35 cs of Code-switching: English vs Nigerian Languages’’, World Englishes, 25, 1, 2006, Sage Publicati ons, 1993, p.179. pp. 23-35. Jenifa is tagged a Yoruba movie, it is diffi cult for a monolingual Yoruba speaker , in a screaming headline proclaims that hundreds of Nigerian of hundreds that proclaims headline screaming a in Punch , The 37 The paper cites paper The Vital Signs 2006-200, Yrb mve a m case- my as movie, Yoruba a Jenifa, 35 According to him, “substracti ve Jenifa a publicatia the of on is manifested in the manifestedin is 36 As a result of result a As Journal of Global Journal of Analysis 133 The Sociolinguistics of a Nollywood Movie 134 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of African writers prefer, buttheideological andcultural usesofsuchlanguages” todeclare that “whatimportant is whatAfricalanguagenot in languagesis about use these considerati ons are at the expense of local Nigerian languages. This makesendeavour. Gikandiother like anyjust Nigeria in sphereHowever, this dominates English why English becomes the only language that makes these possible in Nigeria. This explains promote his message, become more popular and at the same ti me earn more money. being restricted to his linguisti c group and wants to reach a largerEnglish intheir audience in order to useof the creati creati Every enterprise. ve of barrier or writer the to ve break prefer lm wants maker of fi why producers lm producers, fi including the reasons creati endeavours, are ve ons considerati economic and politi cal Social, writers generally should display language patrioti sm by encouraging productipatrioti encouraging in language by ons display sm should generally writers One recommendati on that may address this problem is that lmfi producers and creati ve speakers reflto his sensibilitiEnglish and of style use nati the of the its both for of ect penchant es because ve works literary his in inaccessible and complex deliberately being of consensus on it. Indeed, there are three divergent positi ons about the choice of choice the positi about language for divergent creati ons three ve purposes are there Indeed, it. on no consensus is there creati but African writers to ve new not is choice language of issue The propagate suchalanguage andsuchalanguage isalready endangered. a people’s worldview and experience, subsequent generati on cannot be relied upon to relevance to English in the simultaneous use of English and a local language, to record way of projecti ng such culture in English or partly in English by way of according more by English in wholly either done is culture and history people’s documentati a of on contiforits reliedupon propagati nued whereby the a scenario of the event in But on. writi or ng documentati lmic fi generati subsequent and be preserved on will can be on fi cti literaturecreati or on, ve writi of creati repertoire arich has that Alanguage ng. ve extito perpetuati way is for alanguage its tools ng nction the is of language One on. matta is practiis it language, indigenous an English encouragedmodern above of er ce, and indigenous an such me, style ti of name the in When tongue. mother the to generatiolder generatiyounger the apathy of the about bothered feel not does on on adapt English to suit African surroundings and sensibilitito es free feel should writers African that view the of is Achebe Chinua While degrees. creatifrontline ve writerstwo in Nigeria can be saidthe to belong to theSoyinka, Wole and rstfi group,Achebe though with varying Chinua expression. literary African for vehicle as used be languages indigenous that advocacy unequivocal the is third The languages. advantageindigenousunfair over its of conscious being while publicity its of power of the because of English cauticreati the use is writi ous second ve The ng. Simon Gikandi,“Ngugi’sSimon Conversion: Writi the Politi and ng 41 Language”, of cs and D. P. J.O. Smith (eds.), P. Kunene Chinweizu; J. Onwuchekwa, and M. Ihechukwu, Towards the Decolonizati40 on of African Literature, Enugu, Fourth Achebe,Morning Yet Chinua onCreati Day: on Essays, London,Heinemann Press,39 1975, pp.55-66. Questi Language Nati the the and is Writers African “What Idiom?: Osundare, your Niyi of on”, onality Ow- Kola 38 World Press, 2002,pp.21-38. Tongue and Mother Tongue: African Literature and the Perpetual Quest for Identi ty, Trenton, New Jersey, African Dimension Publishers, 1980. Group Publishers, 2004. DasylvaAdemola FunctiFormsand and (eds.), olabi, Nigeria, Ibadan, Languagesin Indigenous and English of ons 40 . 38 . The fi rst is the unapologeti c use of English for African 39 , Soyinka has been accused 41 . excludedfrom certainprivileges rightsand are groups minority the which to upon consti stereotypes basis which the certain groups tute subordinate ascribe indirectly to groups dominant describe by to used strategy Hill the Jane by used expression an is indexicality Dual indexical’’.‘’dually and ideological historically is It undiscerning. the to obvious be not can and hidden is English by languages Nigerian to posed danger The problem. the address to made effdimiti conscious nunc if languages the Nigerian to not of lead are eventually orts s will that a tool benefi assumed are ts These English. fi in Nigerian producing lms by benefiassumed the beyond derivable goes ts discussed being issue the words, other historicallythatconferredmindsets benefithe assumed of scriptsthe In English. on ts unwittibenefi and assumed English the of by away ts carried the not play is ngly one an early recogniti on and popularity. The issue here is that care should be taken so that Nigerian movie world. Of course, it does and that is why the movie industry has gained intellectualand arrogance for anyone havetonot suggestin does thatplace English a linguistito amount ignorance c will It world. the in but Nigeria, in just not occupies, language the honour of place the from English away take additi can In nobody on, diff erent linguisti c groups inNigeria. cooperati among mutual co-existence, and peaceful between promote on also will it co-habitati diff in Nigeria, of of linguistirefl reality on erent c groups only the not ect will This language. Nigerian another with is, one switch to that made be can language languages, Nigerian Nigerian to local be extended practi should this ce reality, multia is codes lingual of switching while Again, movie. the of assessment overall or whatthe through either charactersareto made say directlythrough or indirect an interpretati languages the local intenti of on of ons positi sides the ve see to made be positia be should there should projecti audience ve the and languages local the of on movies will automati cally blind one to the covert dangers the use of the languageposes to thesurvival ofNigerian languages. the of use the dangers covert the to one automati blind will cally movies inNigerian ofEnglish benefi ts obvious more the practi brandishing Therefore, ce”. linguisti through “constructi world the the in c of powerful very on is semiosis covert on screen on appear writt can that of words amount limitati en the the of of on because dialogue critithe subti that cism a quanti in results typically tling ve reductitati theoriginal of on For fi lms, this can be done through the use of sub-ti tles for movie dialogues. In spite of local Nigerian languages. This can then be translated into English for wider circulati on. are least accessible to inquiry and modifiand inquiry to accessible least are cati down. laid are on, that those self, the of structures deepest the that indexes covert these through is it Jane Hill, Mock Spanish: A Site for the Indexical Reproducti on of Racism in American English. English. American Reproducti in Indexical Racism the for of Site on A Spanish: Mock Hill, Jane 43 H. Gott lieb, ‘’Subti42 tling’’, M. Baker ,and K. Malmkjaer (eds.), Routledge Encyclopedia of Translati on Studies, Lon- Elinor Ochs, ‘’Indexicality and Socializati‘’Indexicalityand Ochs, Elinor on’’, J. Sti44 W. Shweder,R.A. gler; Cultural Herdt (eds.) G. and Psychology, don, Routledge, 1998,p.247. Cambidge, Cambridge University Press, 1990,p.245. culture.binghamton.edu/symposia 42 , I submit that there is no bettno is there that alternati Also, submit er problem. I the , solving to ve / 2/part1/index.html, (Accessed26May 2009), p.2 43 . Accordingcited. byHill, as Ochs toElinor 44 Hill emphasizes thatemphasizes Hill htt p://language- Journal of Global Journal of Analysis 135 The Sociolinguistics of a Nollywood Movie 136 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of Crozier, David and Blench, Roger.Crozier,Blench, and David Social Coupland, Nikolas. ‘’Stylised Decepti on’’, in Adam Jaworski et al. (eds.), University Press, 2007. Nikolas. Coupland, Literature Chinweizu, J. Onwuchekwa, and M. Ihechukwu, Gesellschaft en, Klagenfurt/Celovec, Drava, 2004. uc, Brigitt a. Busch, Koln, Kpppe 2009,pp.187-206. verlag, Blench, Roger. “The Linguisti c Geography of Nigeria and its Implicati ons for Prehistory”, Language Choices, Tubingen, NarrFrancke Att empto 2008. Verlag, of Translati on Studies Gott ‘’Subti H., (eds.), lieb, Malmkjaer K. ,and Baker tling’’, M. 38. 21- Perpetual Quest for Identi typp. 2002, Trenton,Jersey,Press,World , New African D.P.and Smith (eds.), Kunene P.J.O. of Language”, Politi cs the Writi and Conversion: “Ngugi’s ng Simon, Gikandi, of SocialSciences,2008.p.186. Local Responses. Unpublished Ph.d Thesis, London, University of Westminster, Faculty Bleichenbacher, Lukas. Multi lingual Contexts, Clevedon, Multi lingualMatt (eds.), ers, 2004. Blackledge Adrian and Pavlenko Aneta Britain’’, Multilingual in in cal Discourse Identi ty Politi “Constructi of Adrian ons Blackledge, World Englishes, Languages’’, Nigerian vs Politi English ‘’The Code-switching: O. of Edmund Bamiro, cs Exti ncti Face in on’’, Newspaper, Languages July20,2006 Nigerian of ‘’Hundreds Omolola Awe, Tensions (eds.), Unah Jim & Momoh S. C. Nigeria”, in Decision Policy “Linguisti Language A. and Plurality Emmanuel c Adedun, Pof. Funso Akere. Languages”, Indigenous Attito Nigerian Parental and tude “Bilingualism A. Emmanuel Adedun, 1975, pp.55-66. Chinua, Achebe, Bibliography Ekwenchi, Ogochukwu, 1992. and Ideological Perspecti ves . Lagos: Faculty ofArts,University ofLagos, 2006,pp.68-91. , Enugu,Fourth DimensionPublishers, 1980. Nigerian English in Sociolinguisti c Perspecti ves: A Festschrift in Honour of 25, 1,2006,pp..23-35. pahn m Disput im Sprachen Lagos: University ofLagos Press, forthcoming. onn Yt n raio Dy Essays Creati on Day: on Yet Morning Cmrde Cambridge Identi ty Cambridge, Variati on and , Language Style: , London,Routledge, 1998, p. 247. Multi lingualism in the Movies: Popular Ficti on Television Producti on in Nigeria , p.3. Tongue and Mother Tongue: African , Dallas. SIL, 2 SIL, Dallas. , An Index of Nigerian Languages , Berlin,Mouton deGruyter, 2004. iein nert e icus: o. 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Adapti oen von Nathaniel Hawthorne’s The Hawthorne’s fi Nathaniel in lmischen Adapti von Fruhamerikanische oen Das Vergleich: im Dialekte “Archaische A., Pable, and Indigenous Languages in Nigeria, andthe writers African idiom?: language questi your on”, nati of Owolabi, K. and Dasylva,A. (eds.), the onality is “What Niyi, Osundare, Nollywood’s ’Jenifa’, Deconstructs –AfricanLoft Playwright – htt Nigerian p:// Review: ‘’Movie Wole, Oguntokun, (eds.) SocializatiElinor,and Ochs, ‘’Indexicality on’’, Sti gler, J.W.; G. Shweder,R.A. Herdt, and Infl uence, Newbury Park, Sage Publicati ons,1993 Sik H. and Bradac,Ng, James J., Transiti on, 95,13,1,pp.98–109. Film’’,Confi video ‘’Nollywood Nigerian C., of John denti Rise McCall, Unlikely The al: (ed.) Mares, P. , ‘’Mnogojazycnaja kommunikacija I kinofi l’m, in Rossijskaja Akade-mija Nauk aux Confi ns des Langues sti comme moyen listiet/ou comme que Marqueur d appurtenance langues’ dans le discourse litt de eraire’’, ‘melange in Bem, J. and ‘Le Hudlett Georges, A. , Ludi, the United States, Lippi-Green, Rosina, Wien, Editi onPrasens, 2004. Kremnitz, Georg, 2000. Kozloff Sarah, , Macmillan, 2005. Kelly-Homes, Helen, Limited, 1997. Haynes, Jonathan and Okoome, Onookome (eds.), Mouton deGruyter, 2004. Jaworski, Adam et al. (eds.), American Research Press, 2000,pp..35-83. V.(ed.), Linguistiand Ideology Diff‘’Language c S., Gal, erentiand J. Irvine, ati Kroskrity,on’’, P. and Race Reader and Private Spheres’’, Roxy Harris and Ben Rampton (eds.), Rampton Ben and Harris Spheres’’,RoxyPrivate and Public Between Boundary (Leaky) the and Racism, Covert Spanish, ‘’Mock Jane, Hill, (Accessed 26May 2009),p.2 English Jane, Hill, Jazyk kak Stredstvo Transljacii Kul’tury. Moskva, Nauka, 2000. Cultural Psychology . Regimes of Language: Ideologies, Politi cs, and Mock Spanish: A Site for the Indexical Reproducti on of Racism in American htt p://language-culture.binghamton.edu/symposia vrern Fl Dialogue Film Overhearing , LondonandNew York, Routledge, 1995,p.11 Mehrsprachigkeit in der Literatur: Wie Autoren ihre Sprachen USA, Routledge,1997 English with an Accent: Language, Ideology, and Discriminati on in Adverti sing as Multi lingual Communicati on, Houndmills, Palgrave , Mulhouse,Centre deRecherché surlËurope litt raire, 2001. , Cambidge, Cambridge University Press, 1990,p.245. Metalanguage: Social and Ideological Perspecti ves, www.africanloft .co m –(Accessed30May 2009),p.1. Power in Language: Verbal Communicati on and Ibadan,Group Publishers, 2004. , pp. 63-76 Bree, nvriy f aiona Press, California of University Berkeley, , cre Lett erScarlet Nigerian Video Film Forms and Functi ons of English Identi ti esof School Fe, Santa , n Atu Miller’s Arthur und The Language 2/part1/index.html, / , Jos, Kraft Books , Ethnicity Wahlen, Berlin, Social Ecrire The Journal of Global Journal of Analysis 137 The Sociolinguistics of a Nollywood Movie 138 The Sociolinguistics of a Nollywood Movie Analysis Global Journal of United Nati ons, “Nigeria Surpasses Hollywood”, Mahwah, Lawrence Erlbaum,1996. S., Tan,E. New York,Garland 1994. Publishing, Reyes, Luis and Rubie Peter, Phillipson, Robert, Peter 2004. Lang, Crucible”, Williams, Raymond, Marxism and Literature co.n z. (Accessed05June2009),p.1. in Helin, I. (ed.) Emoti on and the Structure of Narrati ve Film: Film as an Emoti on Machine, Linguisti c Imperialism Dialelektubersetzung und Dialekte in Multi media, Frankfurt: Hispanics in Hollywood: An Encyclopedia of Film , Oxford, Oxford University Press, 1992. , Oxford, Oxford University Press, 1977. Scoop Independent News,

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