THE PORTRAYAL OF POLICING IN NOLLYWOOD MOVIES ON PUBLIC PERCEPTION OF

THE NIGERIAN POLICE FORCE

BY

OLANREWAJU CAMILA OYINDAMOLA

Matric No: 21/8816

A RESEARCH PROPOSAL SUBMITTED TO THE DEPARTMENT OF MASS

COMMUNICATION, COLLEGE OF ARTS, SOCIAL AND MANAGEMENT SCIENCES,
CALEB UNIVERSITY, LAGOS. IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR
THE AWARD OF [Link]. DEGREE IN MASS COMMUNICATION.

MARCH 2025

i
 DECLARATION
I certify that this proposal is ready for departmental and college presentations.

OLANREWAJU CAMILA OYINDAMOLA ______________

Student’s Name Sign/Date

ii
 CERTIFICATION

DR CHARLES ADEWALE ______________

Supervisor’s Name Sign/Date

DR. SUNDAY OGBONNA ______________

Head of Department’s Name Sign/Date

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 TABLE OF CONTENTS
TITLE PAGE i
DECLARATION ii
CERTIFICATION iii
TABLE OF CONTENTS iv
ABSTRACT vi
CHAPTER ONE 1
INTRODUCTION 1
Background of the Study 1
Statement of the Problem 3
Research Objectives 4
Research Questions 5
Research Hypotheses 5
Significance of the Study 5
Scope of The Study 7
Operational Definition of Terms 8
CHAPTER TWO 10
REVIEW OF RELATED LITERATURE 10
Conceptual Framework 11
Role of Nollywood in Nigerian Society 11
The Perception of Law Enforcement in the Society 15
Elements that influence the Perception of the Public 15
Difficulties in the Perception of the Law Enforcement 16
Improvement Strategies of Ways to Public Trust 17
History and Modern Perspective on the Nigerian Police 18
Historical Development of Nigerian Police 18
Challenges Facing the Nigerian Police 19
Reform and Way Forward Attempts 20
Improper Portrayal of the Law Enforcement by Nollywood 21
Nollywood and its influence on the perception 21
Distrust and Negative Portrayals of the Public The second step is to break down the negative
representations and mistrust of the public. 22
Favourable Representations and trust-building efforts 22
Social induced commentary and engagement Public 23

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 Approaches to Safer and Better Representation of Policing in the Nollywood 24
Theoretical Framework 27
Framing Theory (Erving Goffman, 1974) 27
Plot Summary of Movies 29
Gangs of Lagos (Jadesola Osideru, 2023). 29
Muri & Ko (Stephen Biodun, 2024) 30
Editi Effiong (2023) The Black Book 31
Tokunbo (Ramsey Nouah, 2024) 33
Cultivation Theory (George Gerbner, 1976) 37
Empirical Review 41
CHAPTER THREE 45
METHODOLOGY 45
Research Design 45
Population of the Study 45
Sample and Sampling Technique 46
Research Instrument 46
Validity of Instrument 47
Reliability of Instrument 47
Data Analysis Method 47
CHAPTER FOUR 48
PRESENTATION AND ANALYSIS OF DATA 48
Research Question One: 48
Research Question Two: 49
Research Question Three: 51
Research Question Four: 52
Discussion of Findings 53
CHAPTER FIVE 57
SUMMARY, CONCLUSION, AND RECOMMENDATION 57
Summary 57
Conclusion 58
Recommendations 59
REFERENCES 61

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 ABSTRACT
The research discusses the aspect of projection of the police force in Nollywood films including the way it
dresses, speaks and behaves as well as the behavior of the police men in their service at their work place.
The study pursues a theme-based analysis that considers the bad vices that are related to law enforcement
areas like corruption, brutality, and misconduct besides themes on justice and perception of the people.
Case studies of handpicked movies such as Gangs of Lagos, Muri & Ko, The Black Book, and Tokunbo
will be used to evaluate to what extent Nollywood influences the way the society perceives the police.
The results indicate that police portrayed in Nollywood films are mostly shown in a disfavorable way
which constitutes to the stereotypical image of incompetency, extensiveness of corruption and use of brute
force. Although a few movies seek to demonstrate the difficulties of the police, most scripts are observed
to deal with the issue on unprofessionalism, which negatively affects the trust or perception of the police
by the people. The paper also shows how subtle justice is reflected in such films such that, in some cases
the law enforces are shown to be the drivers of the law and, in other cases, they turn out to be the cause
of injustice.
The study is part of the debate about the impact of mass media and societal perception of law enforcers in
Nigeria. Critically dissecting these representations, the study notes the necessity of balanced
representation that would not disregard the negative nature of police work but would also point at its
positive nature. Its findings give useful recommendations on the use of media narratives to film-makers,
policy-makers, and law enforcement agencies in determining the attitudes of people towards the security
forces in a society.

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 CHAPTER ONE

INTRODUCTION
Background of the Study
The media plays a significant role in shaping public perception of institutions, and Nollywood

specifically acts as an effective medium for reflecting and showcasing various societal realities.

As one of the largest and most dynamic film industries globally, Effiong and Iseyen (2017) noted

that Nollywood has considerable influence over how Nigerians, as well as international

audiences, perceive aspects of life, including law enforcement.

Nollywood films possess the potential to depict the actions of law enforcement officers,

illustrating both commendable and negative examples regarding heroism or issues of corruption

and incompetence. These representations, whether highlighting the positive image of police

officers who emphasize their courage and commitment to justice, or focusing on the negative

aspects such as the abuse of power and systemic failures, can significantly impact viewers

(Idowu and Nwosu, 2021). This portrayal can either enhance the public's perception of police

officers or, alternatively, foster feelings of skepticism and doubts about their trustworthiness and

effectiveness.

According to Lu (2023), film can act as both a mirror and a critique of societal norms and issues,

making it essential to investigate how Nollywood reflects societal challenges related to policing.

While this analysis should concentrate on the stories that illustrate law enforcement practices, it

is also crucial to consider the wider implications that these portrayals have on the public's

perception of the Nigerian Police Force. By examining the complex dynamics that such

cinematic representations may exert on the public, we can gain a deeper understanding of the

1
nuanced relationship between media portrayals and the views that citizens hold regarding law

enforcement in Nigeria.

One of the driving forces behind this research is the frequent representation of policing activities

within Nollywood films. The depiction of police officers can vary greatly, ranging from serious

themes of law and order to more sensationalized portrayals of crime and punishment. It is

essential to assess the prevalence of policing in Nollywood movies to determine if these

representations are significantly influencing audience perceptions. This popular portrayal of

policing indicates that the film industry could play a major role in shaping public beliefs about

law enforcement, highlighting the importance of analyzing the nature of these representations

(Donovan and Klahm, 2015).

Another critical aspect of this research focuses on the clothing and accents of police officers in

Nollywood films. Thulasidas, Dhanunjay, Ramappa (2024) argued that costumes and dialogue

are vital to character effectiveness in realistic portrayals, which can either solidify certain

stereotypes or dismantle existing ones related to the police. The accuracy or inaccuracy of these

portrayals may shape societal views regarding the sophistication, authority, and control exercised

by the Nigerian Police Force. For instance, when Nollywood movies depict police officers in

poorly fitted uniforms or using inappropriate language, it may reinforce a negative image that

erodes respect for police in real life.

The representation of police officers can stem from various police responsibilities, including

routine law enforcement activities as well as more dramatic narratives of crime and justice. It is

crucial to analyze the frequency of police representations in Nollywood films to understand their

potential impact on viewer perceptions. A recurring theme in policing suggests that the film

industry holds considerable sway over public perceptions of policing, which underscores the

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necessity of investigating the nature of policing representations in the film sector (Idowu and

Nwosu, 2021).

The professionalism of the police is essential to effective law enforcement, and its depiction in

Nollywood films may influence the public’s trust in the police. As noted by Mle (2012),

professionalism encompasses adherence to ethical standards, appropriate conduct, and effective

law enforcement practices. When Nollywood films portray police officers engaging in incidents

that showcase incompetence or a disregard for legal procedures, it can foster the belief that the

Nigerian police force lacks credibility. This research paper aims to explore how Nollywood films

represent police professionalism to determine whether these portrayals are accurate or skewed in

their reflection of reality. Additionally, this study will address the broader implications of media

portrayal on public trust in society and their willingness to cooperate with law enforcement

agencies. If Nollywood continues to present the police negatively, it may discourage civic

involvement and significantly reduce the likelihood of citizens reporting crimes or providing

information to the police. Given these potential repercussions, it is crucial to thoroughly assess

the messages that Nollywood films communicate regarding the police force.

Statement of the Problem

Nollywood serves as a significant cultural force that greatly influences societal narratives,

especially in how police officers are depicted. These portrayals oscillate between being seen as

reliable and competent to being viewed as corrupt and violent. The recurring depiction of

unethical behaviors such as bribery, extortion, and excessive use of force raises critical concerns

regarding the perpetuation of negative stereotypes that could undermine public trust in the police.

Moreover, the visual representation of police officers through their uniforms, language, and body

language can greatly affect perceptions of their professionalism. Such representations risk

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becoming ingrained in collective consciousness, shaping public opinion based on fictional

portrayals rather than on real-life scenarios. This study explores the effects of how policing is

represented in Nollywood and the regulatory processes influencing public perception of the

police force regarding their behavior, conduct, and professionalism in Nigeria.

Research Objectives
This study aims to establish an empirical foundation for discussions on the potential

contributions of the Nigerian film industry to national development, particularly through the

promotion of fair and realistic portrayals of institutions such as the police. Specifically, the

objectives of this study are to:

1. Examine the portrayal of police officers' attire and language in Nollywood films.

2. Analyze the attitudes of police officers as depicted in Nollywood films.

3. Identify the negative vices ascribed to police officers in Nollywood films.

4. Assess the level of professionalism exhibited by the police officers portrayed in

Nollywood films.

5. Evaluate public perceptions of police officers as influenced by their portrayals in

Nollywood films.

Research Questions
The following questions have been formulated to guide the study:

1. How are police officers' attire and language represented in Nollywood films?

2. What attitudes are attributed to police officers in Nollywood films?

3. What negative vices are associated with police officers in Nollywood films?

4. To what extent is the professionalism of police officers portrayed in Nollywood films?

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 5. What are public perceptions of police officers influenced by their representations in

Nollywood films?

Research Hypotheses
The following statements are proposed as tentative predictions to direct the study:

H01: There is no significant relationship between the attitudes of police officers portrayed in

Nollywood films and public perception.

H02: There is no significant relationship between the negative vices attributed to police officers

in Nollywood films and public perception.

H03: There is no significant relationship between the professionalism of police officers portrayed

in Nollywood films and public perception.

Significance of the Study

The research is highly pertinent as it will examine how the portrayal of policing in Nollywood

influences public perceptions of the Nigerian Police Force. Considering that media serves as a

significant influence in shaping societal views, it is vital for stakeholders to analyze these

representations to determine whether Nollywood films have successfully built trust or fostered

distrust towards law enforcement agencies. This paper centers on the essential matters of the

accuracy and equity of police depictions in these films to highlight the potential impact of media

portrayals on the actual dynamics between police and the community.

The outcomes of this research could be an invaluable resource for filmmakers and content

creators in Nollywood, providing them with solid evidence regarding the effects of their

depictions of law enforcement on audience perceptions. Increased understanding of these effects

may lead to a more responsible and balanced approach to storytelling, where both the challenges

5
and positive aspects of policing are authentically represented. Through realistic and nuanced

portrayals, filmmakers have the opportunity to encourage informed and constructive public

discussions about law enforcement practices.

Furthermore, this study illustrates how Nollywood films shape societal views of the Nigerian

Police Force, paving the way for police departments to improve their public relations initiatives.

By being aware of these portrayals, one can foster greater community engagement and help

alleviate misconceptions that arise from cinematic narratives. The findings from this research

could also support efforts to uphold professionalism, ethics, and trust that exist between law

enforcement and the community.

For policymakers and governmental bodies involved in media regulation and law enforcement

reform, this research offers essential insights that can be utilized in developing policies aimed at

promoting accurate and truthful representations of policing in Nollywood films. This study can

assist in formulating policies that encourage authentic and positive portrayals of interactions

between law enforcement and civilians while safeguarding freedom of speech by highlighting the

influence of these media representations in shaping public trust in law enforcement capabilities

and their engagements.

This research paper adds to the growing collection of literature on media effects, criminology,

and popular perceptions of law enforcement. The findings may assist scholars in exploring the

connection between media portrayals and societal attitudes within studies of media, sociology,

and security theory. Additionally, this work sets the stage for further examination of how film

perceptions influence trust in public institutions, extending beyond just policing.

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Ultimately, this paper seeks to enhance media literacy among the general public, as viewers are

encouraged to critically assess how law enforcement is depicted in Nollywood. Raising

awareness of potential biases or inaccuracies in films enables viewers to better understand actual

policing practices, allowing them to discern the distinction between cinematic fiction and the

reality of police behavior. This informed perspective may, in turn, foster a more balanced

conversation about the Nigerian Police Force within society.

Scope of The Study

This paper will explore the portrayal of policing in Nollywood films and its impact on the

perception of the Nigerian Police Force. It examines various factors, including the frequency of

police representations, their attire, language, attitudes, unprofessional conduct, and remarks. The

research does not focus heavily on specific films but rather highlights general trends in the

depiction of police work within Nollywood.

As the leading film industry in Nigeria, Nollywood plays a crucial role in shaping public

perception. Consequently, this study investigates how recurring themes in these cinematic works

influence societal views of the police. It is important to note that this research does not assess the

actual performance of the Nigerian Police; instead, it analyzes how their image is constructed

based on the narratives presented in Nollywood. The geographical focus of the study is Nigeria,

where public perception of the police is vital for their effectiveness as law enforcers. The aim

here is to gather audience responses and media representations to understand how they may have

influenced trust in law enforcement.

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Operational Definition of Terms
Police Officers: In this study, the term police officers refers to members of the Nigerian Police

Force as depicted in Nollywood films. This includes an examination of their roles, behavior,

attire, and interactions with the characters in these narratives.

Policing: In this context, policing denotes the actions and functions of law enforcement

personnel as represented in Nollywood movies, particularly focusing on their roles in preventing

crime, conducting investigations, and maintaining public order.

Nollywood Movies: Nollywood movies encompass films produced in Nigeria that highlight

various aspects of society, including the depiction of law enforcement officers and their

relationships with the public.

Public Perception: The term public perception is another key concept in this research. According

to the researcher, public perception refers to the interpretations and opinions formed by

audiences regarding the portrayals of the Nigerian Police Force in Nollywood films and the

overall impression of that force, whether positive or negative.

Media: Within this context, media refers to Nollywood as a storytelling platform that conveys

information, shaping the opinions and perceptions of society about events, institutions, and

individuals, including the police.

Portrayal: The term representation, as used here, signifies the depiction of police officers in

Nollywood films, including their mannerisms, actions, language, attire, and overall conduct in

their roles as law enforcers.

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 CHAPTER TWO

REVIEW OF RELATED LITERATURE

Conceptual Framework

Role of Nollywood in Nigerian Society

Public Perception of Law Enforcement: An Overview

Historical and Contemporary Views on the Nigerian Police

Public Reactions to Nollywood’s Representation of Law Enforcement

Strategies for More Balanced and Constructive Portrayals of Policing in Nollywood

Theoretical Framework

Framing Theory (Erving Goffman, 1974)

Plot Summary of Movies

Cultivation Theory (George Gerbner, 1976)

Empirical Review

Summary of Related Literature

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Conceptual Framework

Role of Nollywood in Nigerian Society

The Nigerian film industry, known as Nollywood, ranks among the largest and most significant

entertainment sectors globally, following Bollywood in terms of the volume of productions

(Okome, 2017). Since its emergence in the early 1990s, Nollywood has had a considerable

impact on various facets of Nigerian society, particularly in cultural, economic, and political

domains. The industry not only generates employment and contributes to the country's GDP but

is also seen as an essential tool for social change, cultural preservation, and the formation of

national identity. This essay will critically examine the diverse roles of Nollywood in Nigerian

society concerning its effects on cultural exchange, economic growth, educational development,

and political dialogue.

Culturally, one of Nollywood's most significant contributions to society is the preservation and

enhancement of cultural heritage. Nollywood effectively showcases the socially diverse traits of

the Nigerian populace across more than 250 ethnic groups through its storytelling approaches

(Adesokan, 2016). Films such as Living in Bondage (1992) and Igodo (1999) illustrate

traditional beliefs, values, and customs, emphasizing the importance of cultural heritage in

contemporary life.

Additionally, Nollywood plays a vital role in transferring traditions and social norms between

generations. The incorporation of indigenous languages, such as Yoruba, Igbo, and Hausa, in

films is advantageous for linguistic diversity and helps ensure the survival of these languages

amidst widespread English usage (Olayiwola, 2019). Moreover, Nollywood has provided

narratives that resonate with other global regions, thus offering improved portrayals of Africa

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and counteracting the negative stereotypes often associated with Nigeria in international contexts

(Onikeku, 2020).

Nollywood also wields considerable economic influence. The cinema industry is substantial,

contributing significantly to Nigeria's Gross Domestic Product, attracting billions of naira each

year. As reported by PricewaterhouseCoopers Nigeria (2021), Nollywood contributes over 600

million dollars to Nigeria's economy, and further growth in this sector is anticipated.

Moreover, the Nollywood industry serves as a key employer, providing numerous job

opportunities across various fields, including acting, directing, screenwriting, production, and

distribution (Akinleye, 2018). The industry has also spawned other sectors, such as fashion,

music, and tourism, which flourish partly due to their connection to cinema. The rise of

streaming platforms like Netflix and iROKOtv has further increased job openings and broadened

the audience, ultimately promoting Nollywood's expansion into international markets

(Okoroafor, 2022).

The advantages of Nollywood for Nigerian society are extensive and varied, encompassing

cultural preservation, economic benefits, and the development of national identity. Its continuous

growth and collaboration with other nations place it as a crucial component of the broader

spectrum of African and global cinema.

Beyond serving as mere entertainment, Nollywood also provides social commentary and raises

awareness on critical issues. Many films produced in this industry tackle various societal

challenges, including corruption, gender inequality, domestic violence, and trafficking. For

instance, the film The Figurine (2009), directed by Kunle Afolayan, explores themes of

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superstition and destiny, while Lionheart (2018), created by Genevieve Nnaji, addresses gender

stereotypes in both relationships and business contexts (Umezinwa, 2020).

The African film industry, particularly Nollywood, plays a significant role in transforming

societal perspectives and raising awareness about health and social issues. Numerous films

address themes such as HIV/AIDS, drug addiction, and mental health, which have succeeded in

educating the public and fostering dialogue within the nation. Works like 93 Days (2016), which

depicts Nigeria's response to the Ebola outbreak, have also aided the public in understanding

health emergency management and how to effectively handle such situations (Eze, 2021).

Beyond its cultural and economic importance, Nollywood significantly contributes to political

consciousness in Nigeria. Movie directors often highlight political matters, satirizing government

policies, corruption, and electoral processes. For instance, in Kemi Adetiba's film King of Boys,

the complexities of power dynamics, political intrigue, and the repercussions of unchecked

authority are illustrated as genuine political circumstances (Nwagbara, 2019).

Moreover, Nollywood has been instrumental in motivating the populace to engage in politics.

During election periods, Nollywood celebrities leverage their influence to encourage individuals

to register and take part in the voting process, and their endorsements for candidates and

promotion of peaceful elections greatly impact voter turnout (Ajibade, 2023).

As an alternative educational medium, Nollywood imparts knowledge across various fields,

including history, law, ethics, and entrepreneurship. Additionally, notable historical films like

October 1 (2014) provide valuable insights into Nigeria's colonial history, while legal dramas

elucidate concepts of justice and human rights (Ogunleye, 2017).

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Nollywood additionally enhances academic understanding as it fosters moral and ethical growth.

Numerous films delve into values such as integrity, honesty, and resilience, providing moral

lessons to viewers. Nevertheless, some critics argue that certain productions in Nollywood, by

endorsing materialism and the supernatural, may set a perilous example, given the unclear long-

term effects of such productions on societal values. This may lead to an exaggerated perception

of situations and escalate belief in the supernatural (Anyanwu).

Though Nollywood possesses several strengths, it faces numerous challenges that hinder its full

potential. Issues like piracy, insufficient funding, production quality, and censorship pose

significant obstacles. Piracy is particularly detrimental, significantly impacting filmmakers and

discouraging new ventures in the industry (Obasi, 2019).

In addition, a lack of focus on infrastructure development, along with limited government

support, undermines the quality of film production. Most film producers struggle to afford

modern filming technology, which leads to inconsistencies in production quality. Even with some

level of creative freedom, censorship and government scrutiny are prevalent, especially

concerning films that tackle politically sensitive subjects such as identity politics (Nwachukwu,

2021).

Nollywood's future is promising, bolstered by continuous technological advancements,

innovative storytelling, and global collaborations. The rise of streaming services like Netflix and

Amazon Prime has allowed Nollywood to reach a broader international audience, resulting in

higher quality productions and increased profits (Aderibigbe, 2023). Furthermore, investment in

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film education and training initiatives is enhancing the skill set of filmmakers and raising

industry standards.

The international expansion of Nollywood has opened avenues for collaboration with foreign

film industries, fostering cultural exchange and economic development. Through strategic policy

implementation, increased funding, and innovative approaches, Nollywood has the potential to

emerge as a significant player in the global cinematic arena.

The Perception of Law Enforcement in the Society

Law enforcement agencies play a significant role in upholding order, enforcing regulations, and

ensuring public safety. Nevertheless, the public perception of police or law enforcement differs

widely among various societies due to factors such as media influence, personal experiences,

historical context, and the internal methods by which police are established. Grasping these

perceptions is essential for building trust and accountability, as well as improving the

relationship between law enforcement and the community.

Elements that influence the Perception of the Public

The community's view of law enforcement agencies is shaped by various factors:

1. Media Representation: How law enforcement is depicted in television, social media, and

news outlets significantly impacts public perception. Favorable portrayals can enhance

credibility, while biased or negative representations can lead to increased skepticism

(Chermak & Weiss, 2016).

2. Community and Personal Interactions: Direct encounters with law enforcement officers,

whether during routine traffic stops, arrests, or community engagement activities, play a

vital role in forming both individual and communal views (Tyler & Fagan, 2017).

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 3. Historical Context: Past incidents of police misconduct, racial profiling, and brutality

contribute to distrust and feelings of vulnerability, particularly among minority

populations (Weitzer & Tuch, 2018).

4. Accountability and Institutional Practices: The existence of effective policing policies,

the use of body cameras, and the stringent enforcement of discipline against officers

significantly affect public trust in law enforcement agencies (Mazerolle et al., 2019).

Difficulties in the Perception of the Law Enforcement

There are still several issues impacting public perception despite the ongoing efforts to enhance

policing:

1. Use of Force and Police Violence: Little-known tragedies stemming from excessive use

of force have emerged, prompting significant changes in police tactics (Smith & Holmes,

2020).

2. Racial and Socioeconomic Inequality: Disparities in the profiling of particular groups

foster negative attitudes and an enduring sense of mistrust (Braga et al., 2019).

3. Deficient Accommodation of the Community: A lack of community representation in

policing decisions can create a substantial disconnect between the community and law

enforcement (Skogan, 2018).

4. Corruption and Misconduct: Incidents of bribery, abuse of power, and failure to ensure

accountability weaken the legitimacy of law enforcement agencies (Punch, 2021).

Improvement Strategies of Ways to Public Trust

The upkeep and improvement of trust between law enforcement and the community will always

necessitate proactive strategies that involve:

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 1. Community Policing Initiatives: These programs focus on fostering relationships between

law enforcement and the community, resulting in positive connections that help build

trust (Gill et al., 2018).

2. Transparency and Accountability: Granting the public access to police records,

establishing independent oversight bodies, and implementing disciplinary actions are

additional steps that enhance credibility (Jones et al., 2020).

3. Training and Education: Instituting de-escalation strategies, cultural awareness, and

ethical leadership as key training priorities, along with hiring specialists in de-escalation

to educate officers, have proven to be significantly beneficial in the interactions between

officers and the community (Lum et al., 2021).

4. Technology: The use of body cameras and dashboard cameras, in addition to data-driven

policing initiatives, boosts levels of transparency and helps to mitigate instances of

misconduct (White & Malm, 2020).

Public perceptions of law enforcement vary greatly due to factors such as media influence, past

experiences, and the practices of institutions. While challenges related to police brutality,

inequality, and corruption still exist, strategic reforms focused on engagement, responsibility, and

transparency within the community can strengthen public trust. To elevate the legitimacy of law

enforcement, collaborative efforts among policymakers, police officers, and community

members must be integrated to achieve greater justice and improved policing efficiency.

History and Modern Perspective on the Nigerian Police

The Nigerian Police Force (NPF) plays a crucial role in maintaining law and order within the

nation. However, the way the public views the force is heavily shaped by historical contexts,

colonial legacies, political meddling, and the system's inefficiencies. Since its inception during

16
the colonial era up until the present day, the NPF has been a representation of the obstacles it has

faced, including corruption, inadequate funding, and instances of human rights violations. This

paper examines the historical evolution of the Nigerian Police, its current public perception, and

the contemporary reforms being implemented to improve its effectiveness and reputation among

citizens.

Historical Development of Nigerian Police

The roots of policing in Nigeria can be traced back to colonial activities, during which the British

government established a policing framework primarily to safeguard colonial interests, rather

than to serve the local populace (Tamuno, 2016). A professional police force was created in

1861, called the Hausa Constabulary, with the aim of maintaining order in Lagos. Following this,

other colonial police units were formed, including the Niger Coast Constabulary in 1894 and the

Northern Nigeria Police in 1900. These units operated in a paramilitary manner, focused mainly

on suppressing any resistance to imperial rule rather than ensuring the safety of local people

(Ahire, 2017). After Nigeria gained independence in 1960, there was little change in the structure

of the police force. It continued to operate under a centralized command, which was

predominantly used by political elites to maintain their grip on power. The military coups of

1966 further influenced the police system, as the force came under military control and adopted

an authoritarian image, characterized by political oppression and human rights abuses

(Odekunle, 2018).

This period also saw a decline in public trust in the police, with increasing reports of police

brutality, extrajudicial killings, and corruption. During the 1970s and 1980s, attempts were made

to reform the police through restructuring and recruitment aimed at building professionalism.

However, these efforts were undermined by political influences, insufficient funding, and

17
inadequate training (Alemika, 2018). When calls for police reform emerged again with the return

to civilian rule in 1999, the results were limited, and many longstanding issues persisted. As a

result, the Nigerian Police Force is generally perceived negatively by the public today. Nigerians

view the police as corrupt, ineffective, and prone to human rights violations (Human Rights

Watch, 2021). Instances of police extortion, unjust profiling, and extrajudicial killings have

further eroded public trust. A key event related to this topic in recent years was the "EndSARS"

protests of 2020, which highlighted the deep-seated resentment towards police brutality,

particularly concerning the Special Anti-Robbery Squad (SARS) (Amnesty International, 2020).

The protests led to the disbandment of SARS and reignited discussions about police

accountability and reform.

Despite these criticisms, initiatives have been undertaken to improve policing in Nigeria.

Community policing programs have been introduced with the aim of strengthening the

relationship between law enforcement and the local community. Additionally, the enactment of

the Police Act 2020 seeks to promote police professionalism, accountability, and service delivery

(Ogundiya, 2022). However, challenges such as corruption, resource scarcity, and inadequate

training continue to hinder significant progress.

Challenges Facing the Nigerian Police

There are still particular structural and operational issues that hinder the effectiveness of the

Nigeria Police Force:

1. Corruption: Widespread corruption through bribery and extortion has damaged the

reputation of the force (Olaniyan & Olarinmoye, 2019).

18
 2. Inadequate funding and equipment: Many police stations lack essential working

equipment, and officers are poorly compensated, leading to low morale (Onwudiwe,

2018).

3. Violation of Human Rights: Practices such as torture, unlawful detention, and other forms

of extrajudicial killings have negatively impacted the community's trust in the police

(Amnesty International, 2020).

4. Insecurity and Crime: A rise in insurgency, banditry, and kidnapping incidents has

highlighted the weaknesses in the policing system (Nwolise, 2021).

5. Feeble Oversight Mechanisms: The Police Service Commission (PSC) and other

regulatory bodies struggle to hold officers accountable due to political influence and

ineffective enforcement of penalties (Yagboyaju & Akinola, 2023).

Reform and Way Forward Attempts

It is in this context that consecutive governments have undertaken various reforms aimed at

transforming the Nigerian Police Force into a more professional and community-oriented entity.

Some of these reforms include:

1. The Police Act 2020: This legislation is designed to enhance police accountability,

improve training, and modernize operational methods (Aborisade, 2021).

2. Community Policing Initiatives: This approach advocates for the establishment of local

partnerships between the community and law enforcement to enhance crime prevention

efforts and build trust (Ogundiya, 2022).

3. Human Rights Training: The implementation of training programs focused on ethical

policing and human rights aims to change the culture of impunity within the force

(Human Rights Watch, 2021).

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 4. Technology: The adoption of digital practices in policing, such as body cameras and

crime databases, is intended to promote transparency and efficiency (Olaniyan &

Olarinmoye, 2019).

The historical views of the Nigerian Police and current perceptions reveal deeply ingrained

patterns of policing influenced by colonial legacies, political backgrounds, and overarching

systemic issues. While the lack of public trust is a significant concern, the ongoing changes

indicate a move towards a more professional and accountable police force. Key interventions,

such as combating corruption, improving funding, enhancing oversight mechanisms, and

increasing community engagement, are vital steps towards restoring public confidence and

enhancing the effectiveness of the Nigerian Police Force.

Improper Portrayal of the Law Enforcement by Nollywood

The Nollywood film industry plays a crucial role in Nigerian society as it significantly shapes

people's perceptions and attitudes. One of the key topics discussed in Nollywood films is the

portrayal of law enforcement officers. The way police officers are depicted, the nature of their

work, the presence of corrupt individuals among them, and whether they are seen as heroes or

failures due to corruption all influence public opinion and form specific narratives about the

Nigerian Police Force (NPF). This paper analyzes how people react to the representation of law

enforcement in Nollywood films, referencing both the positive and negative portrayals and their

effects on society as a whole.

Nollywood and its influence on the perception

Nollywood ranks as the second-largest film industry globally, which allows it to easily influence

public opinion. The way police officers and law enforcement agencies are depicted can either

reinforce or diminish existing stereotypes. Over the years, Nollywood has represented police

20
officers in various lights, from corrupt and ineffective members of society to brave and dedicated

seekers of justice. These portrayals impact viewers' perceptions of the actual police force in

Nigeria and affect the population's trust and expectations of law enforcement (Okoye, 2019).

Distrust and Negative Portrayals of the Public The second step is to break down the
negative representations and mistrust of the public.
The theme of corruption within the police force frequently appears in Nollywood films. Many

productions depict officers as being eager for bribes, ineffective, or even complicit in illegal

activities. These portrayals reflect the public's outrage against the improper actions of the police

in Nigeria, fostering negative perceptions (Alemika, 2017). The EndSARS movement, which

gained momentum in 2020, highlighted the dissatisfaction with police brutality and corruption.

Many Nigerians have expressed that the scenarios depicted in Nollywood closely mirror their

real-life experiences, confirming their lack of trust in law enforcement (Amnesty International,

2021).

Furthermore, Nollywood films often represent the police as either lacking the necessary

resources to address crime or simply negligent in resolving criminal cases. This narrative of

incompetence can weaken public support for law enforcement agencies. When viewers are

repeatedly exposed to such depictions, they may begin to internalize these attitudes and reflect

them in their real-life interactions with the police (Ajibade, 2020).

Favourable Representations and trust-building efforts

Even with the negative portrayals, Nollywood has also presented law enforcement officers in a

positive, sensible, and heroic light. Other films highlight police officers who oppose corruption

within the system, deliver justice to criminals, and act with integrity in serving the public

(Ogundiya, 2022). These positive representations are aimed at generating public enthusiasm and

shifting perceptions regarding law enforcement.

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In recent years, Nollywood filmmakers have made efforts to create films that present a more

genuine representation of policing. Some films illustrate transformations within the police force

concerning professionalism and accountability (Olaniyan & Olarinmoye, 2019). Filmmakers

have also collaborated with governmental and law enforcement bodies to showcase a more

favorable image of the police and to align public sentiments with the existing system, aiming to

restore some level of trust (Human Rights Watch, 2021).

Social induced commentary and engagement Public

The way the audience views law enforcement as portrayed in Nollywood is influenced by their

personal experiences and societal narratives about the police. The representation of police in

films has sparked discussions on social media, where individuals debate how accurate these

portrayals are, questioning if they are exaggerated for dramatic effect (Ibeanu, 2019). Some

argue that Nollywood exaggerates police corruption, while others believe it simply mirrors the

existing issues within the system.

Furthermore, Nollywood films have introduced themes of advocacy and reform. These films

keep the conversation about police misconduct and inefficiencies alive, prompting more public

dialogue about the need for change (Onwudiwe, 2018). Activists and policymakers have

occasionally referenced film portrayals to emphasize the necessity for police reform, showcasing

the media's significant influence on governance and policy development.

Criticism of Nollywood films that grant law enforcement powers reflects the broader societal

context and narratives about policing in Nigeria. While negative portrayals may perpetuate

misconceptions, positive depictions can help foster trust in the system. As Nollywood continues

to evolve, filmmakers should embrace social responsibility alongside the goal of creating

compelling stories, ensuring that representations of law and order are both engaging and positive.

22
In summary, the relationship between Nollywood and public perceptions of law enforcement

highlights the film industry's role as an enlightening and transformative force.

Approaches to Safer and Better Representation of Policing in the Nollywood

As a strong media tool of story-telling, Nollywood plays a great role in influencing populace

views of law enforcement. Police officers depicted in the films made in Nigeria tend to be biased

towards corrupted, ineffective, often brutal law enforcers, both real issues occurring in Nigerian

Police Force (NPF) and stereotyping. These portrays appeal to social frustrations, but they do

have the potential to abolish confidence on institutions of law enforcement. In order to have a

more just and positive portrayal of policing, filmmakers, policymakers, and other stakeholders in

the media need to use conscious strategies to portray the problems and the attempts of reform in

the police force.

1. Collaboration Between Filmmakers and Law Enforcement Agencies

The most important approach towards achieving more realistic depictions of policing in

Nollywood is to encourage filmmakers in partnership with law establishments. Film producers

can interact with the police institutions to get technical expertise and realistic illustrations of

police procedures to limit the use of exaggerated and negative images (Alemika, 2017). The

police authorities can contribute towards the development of narratives that are not only

believable, but also balanced in their representation of the officers by providing an insight into

law enforcement procedures, training, and issues.

2. Emphasizing on the positive model of law enforcement

Although it is significant to criticize the police misconduct, it is also essential to refreshing

instances of those police officers who maintain justice, respect citizens, and fight crime in the

23
best possible way. Nollywood can achieve the golden mean by representing the fods that fight

corruption, are able to crack difficult cases, and interact favorably with communities (Olaniyan

& Olarinmoye, 2019). Such images would aid in rebuilding the trust that the people had in the

police and act as an ideal to be followed by the police personnel.

3. Development of Systematic Problems and Personal Freedom

Instead of concentrating on only the corrupted people in the police force, Nollywood is able to

investigate the bigger systematic problems which lead to bad behavior as poor working

environment, insufticient education and political meddling. Placing the underlying causes of

police malpractices into a broader context, films can encourage debates on institutional changes

instead of triggering the tendency to defame all law enforcement officers in general (Ajibade,

2020).

4. Themes of Police Reform and Accountability Incorporated

The most practical contribution policicism can have towards better representation of policing is

through inclusion of narratives on police reforms. The initiatives which help enhance

accountability levels, community policing and technological innovations in the law enforcement

can be demonstrated in the Nollywood films. The principle of accountability within the police

system can be supported by highlighting the cases when officers are punished as a result of

inappropriate behavior (Human Rights Watch, 2021).

5. Involving Law Enforcement Officers into Preaching Storytelling

Use of real life law enforcement officers as consultants, advisors, or even actors in nollywood

productions can help in enhancing accuracy in portrayals. These experts will be capable of giving

them an idea about the real police practice, difficulties at work and ethical field problems officers

24
have to go through. Through this strategy, it is possible to overcome the excessive or over-the-

top portrayals of the police in cinema (Ibeanu, 2019).

6. Advancing the Community-Police Oriented Policing Discourses

Positive shootings of interaction between the police and the citizens can be of assistance in

changing the view. Nollywood is able to include plots of stories that show the officers interacting

with the citizens in crime prevention activities, involvement in social developmental works, and

compassion to the marginalized groups. These depictions may be used to motivate the audiences

to view police as agents that work together with them instead of the opposing ones (Ogundiya,

2022).

7. Promoting Good Ethics in Journalism and Motion Picture Production

A moral obligation of filmmakers is that they present policing in ways not instilling fear,

hostility, or cynicism. Creation of codes of responsible storytaking, which looks into

consequences of negative portrayal on perception of the populace can aid in the effort to counter

such a construction of stereotypes. The producers of the films must also engage in facts and find

consultation with legal and criminology professionals to get it right (Onwudiwe, 2018).

8. Representation Diversity of the Police Officer

Most Nollywood movies depict police officers as either corrupt or stupid giving no reflection to

the diversities within the force. Such diversity in the lineup of officers can include officers of

other backgrounds, ranks and gender view, in order to ensure a more detailed picture of law

enforcement is generated. As an example, female police leads are not well-represented in

Nollywood, but they are instrumental in contemporary policing (Amnesty International, 2021).

25
9. The use of Documentary and Educational Films

Besides telling fictional stories, Nollywood is also able to make documentaries that determine

real-life policing activities, problems and changes. A very rounded out view in regards to the

field of law enforcement may be given through film documentaries where officers, community

leaders, and even crime victims are seen talking to camera. The two can be used as education

tools to the public and law enforcers to improve understanding gaps (Ajibade, 2020).

A multi-faceted approach is required to change the bias and negative focus of policing in

Nollywood to a more balanced and constructive image. The cooperation with law enforcement

communities, which involves the presentation of precarious and desirable features of policing,

the discussion of systemic concerns, and the theme of the reform are crucial practices toward the

realization of this aim. Nollywood can influence the perception of the population in a positive

direction because through the responsible approach to storytelling, the industry can help shape

the mutual trust, responsibility, and positive interactions between people and the police.

Theoretical Framework
Framing Theory (Erving Goffman, 1974)
It is Gregory Bateson who proposed the concept of framing in the year 1972. He stated that

psychological frames are an expression of what he termed as a spatial and temporal delineation

of an interactive message set that is treated as a source of metacommunication (Hallahan, 2008).

Framing is a technique of interpreting the news and contents of a story in the context that people

are used to. Although connected to the tradition of the agenda setting, the concept of framing

extends the scope of the research with applying focus in the core of the issue under study as

opposed to studying a given subject. The framing theory is based on the idea, that media guides

the focus on specific events, and puts them into the context where they have some meaning

26
(Mass Communication Theory (Online), 2017). This theory assumes that how information is

positioned to the audience will influence choices the individuals make in the processing of the

same information, otherwise termed as the frame. The frames are abstractions allowing to

organize or structure messages meaning. One of the most frequent uses of the frames is the

framing of information by the news or media outlets. Framing theory explains that such frames

are created by the media as they provide news pieces with preset and limited contextualization.

Frames can be specific sources of increased comprehension or even the shortcuts that can link

the stories with the wider narratives.

Gregory Bateson is the one who presented the idea of framing in the year 1972. According to

him, Weak Oversight Mechanisms: The Police Service Commission (PSC) and other regulatory

agencies face challenges in holding officers accountable due to political pressures and inadequate

enforcement of penalties (Yagboyaju & Akinola, 2023).

Reform Efforts and Future Directions

In light of this, successive governments have initiated a variety of reforms aimed at reshaping the

Nigerian Police Force into a more accountable and community-focused organization. Notable

reforms include:

1. The Police Act 2020: This legislation is intended to bolster police accountability, enhance

training, and modernize operational procedures (Aborisade, 2021).

2. Community Policing Initiatives: This strategy promotes the creation of local partnerships

between the community and law enforcement to improve crime prevention and foster

trust (Ogundiya, 2022).

27
 3. Human Rights Training: Training programs geared towards ethical policing and human

rights are being implemented to tackle the culture of impunity within the force (Human

Rights Watch, 2021).

4. Technology: The introduction of digital tools in policing, such as body cameras and crime

databases, aims to enhance transparency and efficiency (Olaniyan & Olarinmoye, 2019).

The historical perceptions of the Nigerian Police and current attitudes reveal established patterns

influenced by colonial histories, political contexts, and broader systemic issues. Although the

lack of public trust remains a significant challenge, ongoing reforms suggest a shift toward a

more professional and accountable police force. Key interventions—such as combating

corruption, increasing funding, improving oversight mechanisms, and fostering community

engagement—are essential for restoring public confidence and enhancing the effectiveness of the

Nigerian Police Force.

Misrepresentation of Law Enforcement in Nollywood

The Nollywood film industry significantly shapes societal perceptions, particularly regarding law

enforcement. It often portrays police officers in various lights, affecting public opinion and

forming specific narratives around the Nigerian Police Force (NPF). This discussion analyzes

audience reactions to the representation of law enforcement in Nollywood films, highlighting

both positive and negative portrayals and their societal impacts.

Nollywood's Impact on Public Perception

As the second-largest film industry in the world, Nollywood has the power to influence public

opinion. The depiction of police officers can either reinforce or challenge existing stereotypes.

Over time, Nollywood has showed police officers in diverse ways, ranging from corrupt and

28
ineffective to honorable and dedicated figures. These portrayals play a role in shaping viewers'

perceptions of the real police force in Nigeria, affecting public trust and expectations of law

enforcement (Okoye, 2019).

Mistrust and Negative Portrayals of the Public

A significant theme in Nollywood films is corruption within the police force. Many films depict

officers as corruptible, ineffective, or involved in illegal actions, mirroring the public's frustration

with police misconduct in Nigeria and perpetuating negative perceptions (Alemika, 2017). The

EndSARS movement, which gained traction in 2020, underscored the public's dissatisfaction

with police brutality and corruption, with many Nigerians feeling that the scenarios portrayed in

Nollywood accurately reflect their real-life experiences, deepening their distrust of law

enforcement (Amnesty International, 2021).

Additionally, Nollywood often portrays police as under-resourced or negligent in addressing

crime. This narrative of incompetence can diminish public support for law enforcement.

Repeated exposure to such portrayals may lead viewers to internalize these views and reflect

them in their real-life interactions with the police (Ajibade, 2020).

Positive Representations and Trust-Building Efforts

Despite the negative portrayals, Nollywood also features law enforcement officers in a favorable,

rational, and heroic light. Some films depict police who combat systemic corruption, administer

justice, and act with integrity in serving the public (Ogundiya, 2022). These positive

representations aim to inspire public enthusiasm and reshape perceptions of law enforcement.

In recent years, Nollywood filmmakers have made strides in presenting a more authentic

depiction of policing, with some films illustrating transformational efforts within the police

29
[Link] frames are just a manifestation of what he referred to as a spatial and

temporal boundary of an interactive message set that is considered as a source of

metacommunication (Hallahan, 2008). Framing is a method of presenting the news and contents

of the story in the frame that people are accustomed to. Being related to another tradition of the

agenda setting, the notion of framing expands the boundaries of the research in terms of focusing

it in the heart of the matter under investigation instead of investigating a predetermined topic.

The principle behind the framing theory suggests, that it is the media that directs the attention

toward particular events, and frames them in the context in which they are somehow important

( Mass Communication Theory (Online), 2017). It is the basis of this theory that the positioning

of the information before the audience will affect the decisions that the individual will make on

the same information otherwise referred to as the frame. The frames are abstractions that permit

to generate or make meaning of messages organization. Framing of information is one of the

most common applications of the frames on the news or media outlets. According to framing

theory, the media develop such frames since they contextualize news items with prior and short-

imposed contextualization. Frames may be definite sources of deeper understanding or even the

shortcuts which can connect the stories with the bigger stories.

Plot Summary of Movies

Gangs of Lagos (Jadesola Osideru, 2023).
Three friends, Obalola, Gift, and Ify, were raised in Isale-Eko, a region plagued by political

turmoil, gang violence, looting, and corruption. When Obalola is only a child, his father, a

former king of their community, is killed in a tragic shooting by masked individuals known as

Eyo. While stuck in traffic, the trio steals a bag from a woman, which contains cash and an

international passport. The woman reports the theft to Alaye Bam Bam, a street kingpin and

30
influential political figure in Isale-Eko. After capturing Obalola and recognizing his boldness,

Alaye Bam Bam involves him and his friends in his illegal activities.

Nino, an aspiring gang leader in the area, takes an interest in Obalola due to his bravery and

street intelligence, envisioning him as a potential successor for the gang called Eleniyan, which

translates to "the boss" in Isale-Eko. Nino acts as a surrogate father to Obalola, providing a

respite from the suffocating environment created by an overly religious mother. Obalola finds

comfort in Nino's home, with whom he develops romantic feelings, unaware that Nino is the

neighbor of Teni, the daughter of Kazeem.

Tragedy strikes when they witness Nino's brutal murder, shattering Obalola's hopes for a better

future. In Nino's absence, Obalola and his friends become involved with Kazeem, a ruthless and

power-hungry gang leader entwined in Lagos politics. Kazeem, who poses as Obalola's father,

engages in selfish and criminal conduct that has dire consequences.

As the friends grow older, their lives take a turn for the worse, leading their paths to diverge.

Obalola feels compelled to follow Kazeem loyally to protect his family and avenge Nino's death.

Meanwhile, Gift immerses himself in gang life, seeking power amidst the chaos, while Ify

aspires to be a musician, yet remains inextricably tied to a criminal lifestyle due to his loyalty to

his friends.

A significant operation orchestrated by Kazeem results in violent clashes with rival gangs over

territory and political control. Reluctantly, Ify joins the operation to support his friends.

However, the mission goes awry, resulting in chaotic gunfire that takes Ify's life. His sudden and

horrific death leaves Obalola and Gift devastated and unable to cope with their profound loss.

31
Following Ify's death, violence erupts in Isale-Eko, with Mama Ify, his mother, demanding

revenge. After the turmoil, Obalola uncovers Kazeem's involvement in Nino's murder and

orchestrates a bloody retaliation against him. Consumed by grief and a thirst for justice, a fierce

gang war ensues. Ultimately, Obalola confronts Kazeem in a final showdown and kills him. It is

through this act of revenge that Obalola completes the cycle of violence he has experienced

throughout his life and seeks a means of escape from it.

Muri & Ko (Stephen Biodun, 2024)

Muri is a minor criminal, but he finds himself in a difficult situation due to his debts, constantly

dodging his creditors. However, a series of foolish robberies leave him unfulfilled and broke,

prompting his friend Rasky, also known as Bro Bouche, to present him with a chance to get rich:

stealing vehicle parts. With promises of high returns from quality items, Muri eagerly jumps into

this new criminal enterprise filled with hope.

His luck seems to change when he spots a shiny car in the mall parking lot, unattended, with the

driver being the unsuspecting Gloria Anozie-Young, who is shopping for her young son, Cole.

Motivated by the thought of not just taking a part but stealing the entire vehicle for a larger

reward, Muri's simple plan quickly escalates into a case of grand theft auto.

However, Muri’s plans take a dramatic turn when he discovers that there is a child, Cole, sitting

in the back seat of the car. In a moment of desperation, Muri decides to take Cole along with him

to make his getaway. Meanwhile, Gloria promptly calls the police, and her frantic appeals are

initially dismissed by the station detective, played by Femi Jacobs. He does not grasp the

situation's growing public interest until he learns that Cole's mother is Chidinma, a well-known

reality TV star played by Bisola Aiyeola. This revelation prompts the detective to act swiftly to

resolve the situation and save the child.

32
As Muri struggles with being a notorious fugitive for both grand theft auto and kidnapping, he

unexpectedly develops a bond with young Cole during their intense journey. They support each

other, revealing their vulnerabilities, sharing laughs, and forming a connection. At the same time,

the incident triggers Cole’s parents, Chidinma and Banji, portrayed by Bucci Franklin, to

confront their unresolved relationship issues, setting off a journey of reconciliation amid the

chaos.

Editi Effiong (2023) The Black Book

An armed group kidnaps professor Craig and his baby in the Lagos roads of Nigeria. Craig and

his child are murdered yet he had once given in to the demand of his gang by making his wife

resign her job in an anti-corruption agency. In order to cover their activities, the plotters strive to

frame a harmless Damilola Edima, son of Paul Edima, involved in the killings. The author slays

Damilola brutally killing him by being framed as the kidnapping mastermind by the corrupt

police officers.

Aspiring journalist Vic Kalu makes efforts to help a bereaved Paul Edima who at first refuses to

accept her aid and asks her instead to drop the case. Upon learning whose people killed his son,

through Kalu, Edima kidnaps and tortures the men, and films their confession on video. Kalu

gives out SD card with the footage to her boss, who destroys it on ground that the case was

sensitive. The gang kills a number of police and orders the Nigerian police to frame Edima who

is declared a public enemy. General Issa sends men to kill him and he kills the man and later he

refuses to take the money being offered to him by general Issa because he had killed his son.

A war is declared between the two men. At the church where Vic Kalu had been an orphan,

Edima confesses that he has formerly been a member of a drug dealing gang headed by Issa but

has changed to devotion to God as a deacon. He reveals thereafter that he had been the hitman

33
who killed the mother of Kalu, an investigative journalist who was to blow the whistle on the

illegal endeavors of Issa. Men with guns go into the church, who seize Kalu as they carry him

away. Edima however evades the fire and escapes safely. Paul turns to Big Daddy who is an

imposing business woman and has her own small army of women soldiers. They all come up

with a blueprint on how to attack the main office of the gang and save Kalu. When Edima gives

up to the gang, he is taken to prison where he is then imprisoned together with the journalist who

tries to shoot him whenever she gets a chance by Issa. Soon afterwards, Big Daddy and her

troops dressed like farmers storm the complex and slaughter the gang members and one case is

grabbed by the troops out of the gang safe.

Edima is revealing that when he killed the mother of Kalu he had a choice of killing her but he

did not but rather took her to a church instead. He also threatened to expose a black book

containing some data of the activities of the gang to General Issa and in exchange of this book,

Issa granted Edima and Kalu freedom. To conceal the illegal mining, Big Daddy releases a video

where the gang executes four army officers, which results in the military attacking the

headquarters of the gang causing most of the gang members to run away. Issa alone and

unprotected is approached by Edima and arrested later. Finally, Victor Kalu finds the case back

and sees the black book in it. When Edima props his son to his final resting place, he asks Kalu

to present it to the media. Consequently, many prominent individuals who associate themselves

with the gang are arrested.

Tokunbo (Ramsey Nouah, 2024)

The story is about the protagonist who is torn between his desire of leading away the life of

crime to build a better future of his family. Initially, Tokunbo is a car smuggler who works

together with the infamous offender Gaza. His life starts taking a different turn when his wife

34
Lisa is going to deliver a baby boy, Chris. Concerned by the violent act of Gaza, Tokunbo

decides to change his life and takes a lowly job as a taxi driver with an aim of disassociating

himself with the criminal life that he used to lead. However, Tokunbo is challenged with new

challenges after a year and a half. Chris who is now a young toddler requires an expensive heart

transplant. Tokunbo earns a paltry salary as a taxi driver and therefore could hardly provide for

the family. In a desperate need of finance, Tokunbo appeals to all the people he knows, to help

him with some money, but to no avail as no one comes to his rescue with the much needed

money. We also come across the newly appointed Governor of the Central Bank of Nigeria,

Folashade who is also facing very big challenges. She wants to put an overall policy in place as a

way of economic stabilization in the country. Yet, some interests of those in high position are

jeopardized because of this initiative and this results in resistance as they struggle to retain the

personal bottom lines.

The kidnapping of Nike is a direct result of her mother being the new governor of the Central

Bank of Nigeria: Folashade. Folashade is bent on launching a controversial policy that will pull a

controversial policy that aims to regulate the cryptocurrency market, something that most

powerful people are against. Being a woman in the power position, she is subject to scrunity

already, and her ambitious policy agenda makes opposition toward her even greater. Although

the backlash is perhaps reinforced by the fact that Folashade is a female, the main problem with

her is the proposed economic change. This policy takes away the interests of the people

benefiting due to the unregulated financial situation that exists. Kidnapping of Nike is a strategy

that is used to hinder or interfere with her plans. Her kidnapping takes place on the very same

day when she is scheduled to hold a press conference in which she is to announce her new

35
regulations and, therefore, form her personal crisis that is likely to deprive her of not only her

public announcement but also her policy realization.

Unexpectedly, Tokunbo gets himself enmeshed in this kidnapping plot. He has already been in a

compromised position since he has been a driver in some suspicious deliveries of the

unidentified caller. He was not dealing in drugs willingly but rather he was desperate to take care

of his family particularly his son. But he never thought that his last delivery will be a kidnapping

boy. He immediately wishes to get out of the situation when he discovers Nike at the back of his

car. But the grip that the caller had on Tokunbo is solid. The caller blackmails him with some

tapes and photos of him carrying drug delivery, making Tokunbo have no alternative other than

to do what the caller said. Moreover, the caller is willing to give him 30 million naira in

exchange of taking Nike to the border in three hours. Tokunbo is also torn apart by his sense of

right and wrong and his fear of going to prison. He is exceptionally concerned with the danger

that threatens him and he feels stuck. These are extreme financial situations and his need to

ensure that his son does not grow up poor pushes him towards carrying out the kidnapping.

In another turn of destiny, it is his family that contributes to the downfall of Tokunbo. Tokunbo is

abducted together with the young girl and he discovers that it is Raymond who is behind the

crime and he is using his wife, Lisa, and his son as a means of pressure. In the rush to protect his

family, Tokunbo obliges the kidnapper as he knows that the police are always monitoring him.

But not even that comes as a relief to Tokunbo as his worst fears are surpassed when he is called

up by his wife to give him the tragic news that their son had died. The family was kidnapped but

held ransom in hospital by the kidnapper who brought them to his warehouse. This is where the

life of their son is cut short. This fact overwhelms Tokunbo and his whole reason to go out there

and carry out the deed in the first place is to keep his son safe.

36
Nike is instinctive to attack and to escape. But after eavesdropping to the chat between Tokunbo

and the kidnapper she starts realizing how complex the situation of Tokunbo really is. Nike

understands that Tokunbo is not a ferocious criminal. He is a man who is under a tremendous

pressure as he is fearing about the life of his wife and his son. Instead of holding Tokunbo as her

adversary, Nike begins to feel sympathy towards him.

She can detect his inner conflict and chooses to work with him as she wishes that everything will

be peaceful. Under the cloud of grief, Tokunbo loses his temper and in turn his driving abilities.

Frustrated by his life, he cannot concentrate on how to avoid the police. In his depressed state,

Tokunbo drives off a bridge and they fall into a river below which ends the tragic journey.

By the conclusion of the film, the eponymous hero is too much at the centre of the criminal turn

of events and the betrayal as well as the redemption. Although Tokunbo began as a man who was

driven into kidnapping by handsome arms, his acts indicate that he has a heart bearing the

capacity to love and transform, especially when it comes to dealing with Nike, the girl he is

forced to kidnap. There is a dramatic twist in figurative sense in which Tokunbo had a bad turn in

life through a dangerous fall with Nike and then saves her.

Tokunbo is ready to change the situation after placing Nike under the care of Iya Muli to make

sure that she is safe. We see him heading to have a date with Lisa who is his love when his plans

are rudely disrupted. He is hit by a car and kidnapped by the cold blooded gangster Gaza who

kidnaps Tokunbo. This is a twist in which the plot turns in the last act of the film. To his surprise,

he finds out about the fact that Gaza had been actually heavily involved in the kidnapping.

Gaza is enraged at how the kidnapping debacle had turned and as a result he is eager to console

Tokunbo because he failed at life according to the young man. Gaza had previously placed the

37
phone in the car in which Tokunbo made the deliveries, where Tokunbo was a suspect in the

criminal scheme at large. This gangster rage leads to a fight as Tokunbo, eager to demonstrate his

worthiness, is prepared to beat up Gaza in a bare knuckle bout. Gaza overwhelms him despite his

resilence. At this point, when everything has gone wrong, Iya Muli appears by saving Tokunbo

and shooting Gaza.

Iya Muli informs the police and this leads to the rescue of Nike by the police at the den of Gaza.

As things have since stabilized, the movie again presents one more showstopper: Folashade was

kidnapped courtesy of her personal assistant, Aziba, and Raymond, the deputy governor of the

central bank. The betrayal is also tormenting to Folashade who had had all the confidence in

Aziba. The assistant had been reporting to Raymond throughout the ordeal and the kidnapping

plan went as envisaged. The plot backfires though when a police officer overhears the

conversation they are having to end up getting both of them arrested. After this rescue, Tokunbo

is seized and there is no way that he is not involved in explaining this kidnapping. Nevertheless,

since they emerged with a connection with him after going through their experience, Nike

manages to persuade her mother that he was not a wicked man but a meek who had been reduced

by circumstances to make atrocious decisions. Touched by the testimony of her daughter

Folashade sympathizes with Tokunbo and gives him a second chance. Rather than resorting to

more punishment, she instead proposes him a job as her body-guard as she sees that providing

some sense of purpose and stability could help him not slip back into a criminal life.

The last scenes of the film introduce a turn-around in the life of Tokunbo. His friendship with

Lisa is still there and they are pregnant. The development comes as a second chance to Tokunbo

because it is an emblem of the new life after the trauma and mayhem that had surrounded his

existence beforehand. The fact that Nike is relieved seeing Tokunbo receives a new chance and

38
the fact that the kid is to be born to him speaks of the fact that the future course of Tokunbo,

albeit not a free of any trials, holds a lot of potential in terms of redemption and recovery.

Cultivation Theory (George Gerbner, 1976)

Cultivation Theory, formulated by George Gerbner in 1976, investigates the long-term effects of

television on viewers' perceptions of reality. Gerbner's studies suggest that prolonged exposure to

television content shapes viewers' attitudes, beliefs, and perceptions over time, often leading

them to adopt a worldview that reflects media portrayals. In contrast to other communication

theories, Cultivation Theory highlights the cumulative effects of media consumption rather than

the immediate impact of specific messages. This theory provides insight into the significant role

that mass media, particularly television, plays in influencing society's collective worldview.

The central idea of Cultivation Theory is that television, as a dominant form of mass media,

molds or influences the audience's understanding of reality. Gerbner (1976) claimed that

television serves not just for entertainment or information; rather, it is a primary source of

cultural storytelling and socialization. With repeated exposure to certain content, television

creates a "cultivated" reality wherein the values, norms, and behaviors depicted in programming

become integrated into the viewer's outlook. This leads to the conclusion that individuals who

watch a significant amount of television are more likely to perceive the world in ways that align

with television representations, often in exaggerated, distorted, or unrealistic manners.

Research by Gerbner indicated that heavy television viewers often develop a "mean world

syndrome," which describes the belief that the world is more dangerous and violent than it

actually is. Throughout the mid-20th century, television frequently portrayed a world filled with

violence, crime, and danger. For those who watched these programs regularly, their perception of

39
society became distorted, leading them to overestimate the frequency of violence and crime. This

"cultivation" of a fearful and hostile outlook occurred over time and was largely attributed to the

repetitive depiction of such themes on television. Gerbner (1976) noted that this effect was

particularly pronounced among individuals who consumed large amounts of television content,

as they were more likely to internalize these distorted images of reality.

Gerbner (1976) asserted that the effects of this phenomenon were especially noticeable among

individuals who had watched a considerable amount of television, as they might be inclined to

absorb these skewed representations of reality. Cultivation Theory operates on the premise that

the most influential media on social reality is television, which has pervaded daily life

throughout the modern world. According to Gerbner (1976), television, compared to other media

forms, has a vast audience and serves as the primary source of information and socialization.

Television shows typically target mass markets, appeal to diverse demographic groups, and

create a shared cultural experience. Consequently, television acts as a narrator of cultures,

providing a common framework for understanding the world. This shared experience influences

the ideals and values of audience members, thereby establishing a collective social reality.

The theory also highlights the varying effects of television across different demographic groups.

Gerbner (1976) and his team conducted scientific studies on how the television industry

influences the perceptions of individuals from diverse social backgrounds, including factors like

age, gender, and ethnicity. They discovered that the cultivation effect does not uniformly impact

all audiences. For instance, individuals with a higher educational background or those who

analyze media content critically may not experience significant effects from how reality is

portrayed on television. In contrast, viewers with lower educational levels may be more prone to

the development of cultivation effects due to their tendency to be more passive. Moreover,

40
Gerbner noted that children and adolescents, during crucial periods of socialization, are

particularly influenced by television's impact on their perception of the world.

Among the key aspects of Cultivation Theory is its emphasis on long-term changes in media

consumption. Gerbner's research revealed that television does not need to have an immediate

impact to instill certain beliefs or behaviors; instead, it can gradually shape attitudes and

perceptions. This concept is especially relevant in today's media landscape, where viewers have

prolonged access to television content. As audiences gain more exposure to diverse media

through cable TV, the internet, and on-demand streaming platforms, they can also experience an

increased agenda-setting effect tied to specific influences. For instance, the depictions of

violence, gender roles, and stereotypes in television shows and films may subtly shape viewers'

perceptions of societal norms and behaviors.

Although Gerbner's studies primarily focused on television, the rise of digital media has

prompted researchers to revisit Cultivation Theory and adapt it to other mass media forms, like

video games, social networking sites, and streaming services. The proliferation of digital

platforms has dramatically transformed the media landscape, granting viewers greater access to a

wide range of content. Nevertheless, despite these significant changes, the fundamental

principles of Cultivation Theory continue to be relevant in understanding how media

consumption affects viewers' perceptions of reality. The theory posits that consuming digital

media is still active in fostering a particular worldview, albeit in more subtle ways.

Critics of Cultivation Theory contend that it simplifies the connection between media

consumption and how audiences perceive it. One major point is that the theory presupposes a

passive audience, suggesting that media consumers are merely passive recipients of messages

presented to them. This perspective neglects the active role individuals play in interpreting and

41
responding to media content. Additionally, Cultivation Theory does not take into account

numerous other factors that influence an individual's worldview, including personal experiences,

social backgrounds, and educational history (Shanahan & Morgan, 1999). Some scholars have

also challenged the empirical backing of the theory, arguing that correlation does not necessarily

indicate causation between media consumption and particular beliefs.

Despite these critiques, Cultivation Theory has remained a significant framework for

understanding the long-term impact of media exposure on society. The theory underscores the

effects of mass media on collective social realities beyond personal impressions. As media

consumption expands in the digital age, Gerbner's theory stands as one of the most compelling

perspectives for examining how television and other media shape societal attitudes, beliefs, and

behaviors.

In conclusion, Cultivation Theory offers essential insights into how mass media, especially

television, influences our understanding of reality as we evolve our language over time. The

theory highlights how media can cultivate shared beliefs and attitudes within a community by

considering the long-term and overall effects of media exposure. Although the media landscape

has been the foundation of this theory and continues to effectively explain how engagement with

media content can shape individuals' perceptions of the world and their role within it, living in an

increasingly media-saturated environment emphasizes the significance of the theory in

understanding the profound influence of media in our society.

Empirical Review
Onyekaba (2022) adopted the constructionist perspective in order to explore the multiple

dynamics around the diagnosis of the Nigeria police in the Nigerian cinema. These films that are

being used in this study include: Police Officer (2002), Sergeant Okoro (2003), Police Recruit 1

42
and 2 (2003), Isakaba (2003), Anini 1 and 2 (2005), Checkpoint 1 and 2 (2007), Finding

Goodluck (2011) and Four Crooks and a Rookie (2012). These movies have been picked out of

the films which are in English and have been submitted to National Film and Video Censors

Board (NFVCB) to be approved within the ten years period between 2002 to 2012. There was

use of the random sampling which followed an initial purposive sampling where more than fifty

films were found which dealt with the police.

The films can be categorized into two main types: Films about the Police and Films Involving

the Police. This analysis argues that these categories reflect common practices in how law

enforcement is portrayed in Nollywood. Onyekaba (2022) employs Michel Foucault's discourse

analysis, C.S. Pierce's film semiotics, and Robert Reiner's concept of Police Fetishism as the

three key theories for studying the selected films. The findings suggest that transforming the real

image of the Nigeria Police to align more closely with its film portrayals could improve service

delivery and public perception.

Ukwueze and Ebeze (2015) examined the representation of the Nigeria Police Force (NPF) in

Nigerian home films to assess the perceptions these films promote among citizens. Their study

was conducted in Awka, Anambra State, based on Framing Theory and Reception Theory. They

used a mixed-methods approach, involving both surveys and content analysis. For the survey,

400 respondents were chosen using the Taro Yamane formula and a multi-stage sampling

method, while the film "Mission to Nowhere" was the focus of the content analysis. Their results

showed that residents perceive the police as corrupt, influenced not just by film portrayals but

also by personal experiences and peer opinions. They found that negative depictions in home

films do not significantly impact the police's overall performance, as the officers remain

unaffected by such portrayals. The study recommends that the police improve their public

43
relations campaigns to enhance their image, while filmmakers should conduct better research on

their narratives before production.

Iyorza (2017) conducted an inferential study on the Nollywood series "Bloody Night" and "Open

Truth," focusing on the corruption within the Nigerian Police. This study aimed to explore the

negative portrayals of the Nigerian Police in these films. Using content analysis, it highlighted

instances of bribery, false claims, extrajudicial killings, torture, and judicial corruption by both

high-ranking and low-ranking police officials. Although the series primarily depicts corrupt

officers, it also features honest ones striving for justice, providing a more nuanced view of the

police. The study emphasizes that a dedicated and reformed Nigerian Police is possible through

appropriate government measures, recommending improvements in officers' salaries, continuous

training, and strict penalties for misconduct.

Adedina (2024) analyzed the realistic behavior of Nigerian employees, emphasizing how it is

portrayed in the Nollywood film "93 Days." This film projects a positive image of Nigeria,

showcasing its capacity to handle significant crises, making it one of the few films that depict the

country positively. In contrast, many other films, both in Nollywood and Hollywood, have

shown Nigeria in a negative light. The purpose of Adedina’s study was to explore how films can

serve to create and sustain a positive image of Nigeria and its people. It examined thematic

material and characterizations in films that could foster positive portrayals. The research

proposed strategies to enhance Nollywood's output, contributing to the constructive rebranding

of Nigeria's image. The study also noted that stereotypes in Nollywood could harm the country’s

reputation, as the impact of these films is far-reaching. The theoretical implications of this

research are grounded in Apparatus Theory by Jean-Louis Baudry, which discusses how

cinematic representations shape our understanding of reality. Analytical evaluations of

44
governance sectors in Nigeria were conducted with a literary approach to underscore the

determination and resilience of Nigerian health workers, particularly during challenging times

faced by medical [Link] are divided into two broad categories, namely, Films

about the Police and the Films Involving the Police. This study claims that these groups are

indicative of the common practices in the Nollywood displays of law enforcement. Onyekaba

(2022) has adopted the discourse analysis developed by Michel Foucault, the film semiotics

presented by C.S. Pierce and the concept, by Robert Reiner, of the so-called Police Fetishism as

the three most important theories in the context of studying the chosen films. These results

indicate that getting the Nigeria Police to change the real image, its practical or ground image, to

the one in the movies and to work on making the positive ones improve and the negative ones

reduce could help the organization in terms of service delivery and the perceptions of the people

that use it.

Ukwueze and Ebeze (2015) investigated the presentation of the Nigeria Police Force (NPF) in

the Nigerian home films, and their aim was to evaluate the type of perception about the police

that is promoted by these films to the citizenry. It was conducted in Awka, the capital of Anambra

State in Nigeria and it is anchored by two theoretical assumptions namely; Framing Theory and

Reception Theory. This investigation was carried out using a mixed-methods approach that

involved survey and content analysis studies. In the survey component, 400 respondents were

selected by applying Taro Yamane formula in combination with a multi-stage sampling approach.

The film chosen to be analysed in the content analysis is the film called Mission to Nowhere, the

subject of which is the police. The findings suggested that residents feel that the police are

corrupt not only because of the attitude depicted in home videos but also to a large extent,

because of those experienced via family and friends as well as personal exposure and peer

45
pressure. Also, Ukwueze and Ebeze (2015) established that the negative depictions in home

movies do not lead to significant changes in the general performance of the police in doing their

job since they do not get shaken by such portrayals. The study recommends that police ought to

do better in their PR campaigns to change their image and filmmakers ought to do better in

researching their storylines before going into production.

Iyorza (2017) conducted an inferential study of the Nollywood film series of bloody night and

open truth where she makes some observations of the corruption in the Nigerian Police. The

purpose of the study will be to examine the negative image of the Nigerian Police depicted in

these movies. Through the use of a content analysis procedure the paper reveals and unravels the

cases of bribery, false claims, extra-judicial killings, torture and cracking justice, committed by

both the high officials and low officials within the police. Though the focus of the series is on

lots of bad officers, some honest police officers who stick to justice and truth are also brought

out through specific characters in the plot. Their quest to truth is a new and a good portrayal of

the Nigerian Police. The study acknowledges that a committed and reformed Nigerian Police can

be created through proper measures by the Nigerian Government. The recommendations are

enhancement of salaries of the officers, the initiation of unending retraining officers and

imposing of punishment to the officers who engage in misconduct.

Adedina (2024) analyzed the realistic behaviors and the practice of Nigerians employees by

paying special attention to the portrayal of this issue in such Nollywood film as 93 Days. The

image projected to us in this film is a positive one (Nigeria) since it shows that it is a country that

has been able to cope with a mega crisis. It is nevertheless among rare movies that portray the

nation positively. Several other movies, Nollywood, and Hollywood based, such as the District 9,

Shanty Town, have cast Nigeria in a bad light. The purpose of the study by Adedina (2024) was

46
to examine the ways that the movies can become the tool of creating and sustaining a positive

image of Nigeria and its people. It will explore the concept of the thematic material and

characterization in the films that can prompt a positive portrayal of the country. In addition, the

research implied some strategies to increase the outputs of Nollywood films which will

contribute to constructive rebranding of the image of the country. Stereotyping in Nollywood

may hurt the image of the country since the impact of these movie is far reaching. The theoretical

implication of this study lies in the Apparatus Theory formulated by Jean-Louis Baudry who

discusses a way that cinematic works are ideological; everything depicted in the cinema affects

our cognizance of reality. Analytical approach has been conducted in the evaluation of the

efficacy of various sectors of governance in Nigeria through use of a literary approach. This

report will highlight the determination and strength of the Nigerian health workers. In a period

whereby everyone, particularly the medical experts, seems to be facing a lot of challenges, they

have performed above expectations in terms of protecting the masses.

47
 CHAPTER THREE

METHODOLOGY
The methods used in this research are outlined in this chapter, which is structured into the

following sections: Design of the Study, Study Area, Population of the Study, Sample and

Sampling Technique, Instrument for Data Collection, Validation of the Instrument, Reliability of

the Instrument, Data Collection Method, and Data Analysis Method.

Research Design
This study employs thematic analysis to examine the portrayal of policing in various Nollywood

films critically. As thematic analysis is a qualitative research approach that enables the

identification, examination, and interpretation of patterns within data, it is suitable for exploring

representations in media content. This method facilitates an in-depth exploration of recurring

themes related to the image of the Nigerian Police Force depicted in Nollywood films. The

analysis focuses on aspects such as language, attire, behavior, professionalism, and overall

narratives, which shape the societal perception of policing. The identified patterns will assist the

research in providing insights into how Nollywood constructs and reinforces the societal

understanding of law enforcement.

Population of the Study

The films produced by Nollywood that depict policing activities form the basis of this research.

These movies will serve as the primary source for gathering data. The secondary population

includes Nigerian citizens whose perceptions of the Nigerian Police Force have been influenced

by what they have viewed in Nollywood films. This group will represent individuals from

various socio-economic backgrounds, age ranges, and educational levels, as they collectively

reflect the general public whose opinions are shaped by the policing portrayed in Nollywood.

48
Sample and Sampling Technique
To select four Nollywood movies that deal with policing, there will be a purposive sampling

technique. The selection criteria will be:

1. Films in which the main plot is law enforcement and the work of the police.

2. Movies should be made in the past decade so that they remain up to date.

3. Films that have attracted considerable populace support and audience.

4. Cinema that represents different sides of police behavior, such as professionalism,

corruption, use of language, dressing and moral behavior.

Movies selected include; Black Book (2023), Muri & Ko (2024), Tokunbo (2024), and Gangs of

Lagos (2023).

Research Instrument
The primary research tool shall be a content analysis checklist in this study. The checklist will be

adopted according to the study variables and these will include:

1. The rate of policing in the movies they have chosen.

2. Description of policemen dressing and language.

3. Police officers attitude and behavior depicted in the movies.

4. The negative vices that are pinned on the police.

5. Law enforcement professional representation.

Each of the observations will be classed into themes and sub themes in the checklist that will

assist in structured and objective data collection.

49
Validity of Instrument
To ensure content and face validity, the checklist will be reviewed by scholars specializing in

media studies, criminology, and research methods. These professionals will offer insights that

will be incorporated into the tool before beginning data collection.

Reliability of Instrument
To maintain credibility, a preliminary content analysis will be conducted using a Nollywood

movie that will not be included in the primary sample. Multiple researchers will code the same

film for inter-coder reliability, and their results will be analyzed for comparison. A Cohen's

Kappa coefficient of 0.70 or above will be considered acceptable for clarity.

Data Collection Method

The information will be gathered through thorough observation and documentation of the chosen

Nollywood films. Each film will be viewed several times to guarantee that the project achieves a

high level of accuracy in coding. The content analysis will concentrate on particular scenes and

dialogues, in addition to character descriptions, which will be recorded following the established

themes specified in the checklist.

Data Analysis Method

The data in the study will be analyzed using thematic analysis and descriptive statistics. The

thematic codes will be employed to identify recurring patterns in police representation. The

frequency counts and percentage distributions will be used to assess the prevalence of various

representations. During the data interpretation phase, the analysis will focus on the specific

themes, ensuring that the findings align with the objectives of the study.

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 CHAPTER FOUR

PRESENTATION AND ANALYSIS OF DATA

The depiction of police officers in Nollywood films reflects a mix of reality and fiction. Films

like Gangs of Lagos, Muri & Ko, The Black Book, and Tokunbo present different yet connected

views on policing in Nigeria, highlighting issues such as corruption, brutality, and incompetence.

This analysis explores how the attire and dialogue of police officers, their behavior towards

others, the negative traits associated with their work, and the portrayal of professionalism are

represented, as well as how these films shape the public’s perception of law enforcement.

Research Question One:

How are police officers’ dressing and language portrayed in Nollywood movies?

The portrayal of police officers is very important in terms of their depiction through attire and

dialogue in Nollywood films. Actors portraying police roles typically dress like regular

policemen, but they often appear disorganized or untidy. For instance, in one scene, a policeman

can be observed with an unbuttoned shirt, smoking a cigarette and yelling at pedestrians, saying,

"Wetin you dey look? Na me talk to you!"; this phrase embodies a mix of informality and

aggression. The rough usage of Pidgin English diminishes their professional image and aligns

with the public's negative perceptions of police officers as undisciplined.

Similarly, Tokunbo depicts policemen in generic colors that blend in with street characters. In

one scene, an officer attempts to extort a motorcyclist by mimicking common extortion tactics,

saying, "If you no drop something now, you go follow us to station." They often display

coercive, rude behavior and use intimidating language, which undermines their authority and

professionalism.

51
In "Muri and Ko," the exaggeration is clearly humorous. Policemen are shown in oversized

uniforms, sometimes wearing mismatched sandals or caps. In a comedic scene, a disheveled

officer tells a suspect, "Na your papa case file I dey find yesterday, e don disappear again!"

highlighting incompetence and chaos in a funny manner.

In contrast, "The Black Book" presents a more nuanced depiction. Some officers are seen in

tactical gear during a raid, while others wear regular trousers while surveilling. There is also a

shift in language from formal to informal. An officer tells a victim's family, "We go check out

am," adding a faux-professional touch to what should simply be a display of compassion

regarding the loss of a loved one, reflecting a systemic indifference to justice.

These examples show that Nollywood tends to utilize costumes and language to depict the police

as unprofessional, indifferent, and disconnected from law and order.

Research Question Two:

What attitudes of police officers are portrayed in Nollywood movies?

In these films, the prevailing atmosphere among the police reflects a blend of apathetic passivity,

violent enforcement, and outright collusion with criminal activities. In Gangs of Lagos, police

officers are depicted as corrupt and disengaged. Following a gang's violent assault, a notable

moment occurs when a commanding officer instructs his subordinate, in haste, to refrain from

discussing the matter. To them, powerful figures are what matter most. This statement highlights

the indifference of the police in this situation, as the dread of political repercussions or potential

profit is too overwhelming to maintain justice.

In Muri & Ko, ignorance and a frivolous attitude characterize the behavior of the officers. Amid

a bustling market scene, one police officer, appearing overwhelmed, exclaims, “Everyone just go

52
home! Case closed!”—yet the issue remains unresolved. This response, whether seen as

disdainful or humorous, is indeed comical and reflects genuine life frustrations with law

enforcement in Nigeria. It conveys a sense of indifference and a lack of commitment to duty.

The Black Book presents a more nuanced range of attitudes. Some officers genuinely seek to

fulfill their duties but are undermined by their colleagues and superiors. During an interrogation

scene, for example, a younger officer hesitates to physically harm a suspect, prompting his

superior to shout, “Hit am spake e speak! You no join dem, Abi you don join dem?” This line

illustrates the pressure within the system to adopt unethical and aggressive methods, which even

individual officers recognize despite their moral reservations.

Conversely, Tokunbo adopts a more somber tone, emphasizing brutal tactics and intimidation. In

one scene, a police officer slaps a suspect before even posing a question, grumbling, “You think

say we get the time to put up with your rubbish? Speak up now before I lose control of myself.”

This intentional and aggressive behavior frames the police as intimidators rather than protectors

of justice.

Across these movies, the most prominent attitudes displayed by police characters include a

casual approach to crime, an excessively aggressive demeanor, and a willingness to compromise

ethical standards. This pattern reveals a state of limited accountability and empathy within law

enforcement as reflected by society as a whole.

Research Question Three:

What are the negative vices attributed to the police officers in Nollywood movies?

Corruption, brutality, extortion, and incompetence are key negative traits often depicted in police

officers within Nollywood films. In Gangs of Lagos, corruption is illustrated in a scene where a

53
senior police officer accepts an envelope from a gang leader and assures him, "You know I have

your back," implying that maintaining his gang's comfort is acceptable.

In the movie The Black Book, corruption is depicted as systemic. A police officer wrongfully

condemns a man without any evidence, and when challenged, remarks, "Na who get money win

case in this country," highlighting a widespread belief that financial power determines justice.

Moreover, the notion of nepotism emerges when a junior officer remarks, "Oga sey make we

release am- na big man pikin," suggesting that connections hold more weight than truth in this

context.

The themes presented in Tokunbo illustrate how police brutality is stark and aggressive. A

notable scene shows officers physically assaulting a suspect with a belt while declaring, "You go

confess today, or we go bury you!" This exemplifies extrajudicial actions, indicating a violent

societal mindset where suspects are presumed guilty and may be subjected to torture without

legal procedures, drawing parallels to real-life incidents of unlawful killings and abuse of power.

In Muri and Ko, police incompetence is taken to a comedic level. During a robbery, officers

arrive late, with one quipping, "We for get them if this bike no deh broken." In another comedic

yet concerning moment, an officer confuses the names of two witnesses and follows up with the

bewildering statement, "Na your papa thief, abi no be wetin you talk?" Such moments point to a

lack of training and professionalism, regardless of their humorous tone.

Collectively, these portrayals paint a picture of a severely flawed Nigerian police force within the

Nollywood narrative, where personal agendas and sheer force replace justice and fairness in due

process. These representations echo the prevalent societal fears and dissatisfaction regarding the

moral and operational integrity of the police.

54
Research Question Four:
To what extent is the level of professionalism of the police officers portrayed in Nollywood

movies?

Professionalism is rarely portrayed as a fundamental aspect of the police force in Nollywood

films. In Gangs of Lagos, the police are shown to lack professionalism and act merely as self-

serving agents due to inadequate training. When a police officer arrives to investigate a crime

scene, he is asked to do everything possible to conceal evidence, but he responds dismissively,

saying, "abeg, just help us move the body out of here; it is not every day that we are meeting

dead bodies." Such a flippant comment trivializes death, suggesting a disturbing desensitization

to violence, which undermines public trust in the police's ability to conduct investigations.

Filming techniques employed are highly inappropriate (Tokunbo). There is a scene where an

official interrogates a suspect without the presence of proper legal representation, adequate

record-keeping, or adherence to procedure. The policeman insists, “This one no need no papers

—on the street justice we doing here!” Here, the disdain for due process is evident as the police

are portrayed as lawless, willing to do whatever they please.

Professionalism is treated as a subject of ridicule in Muri & Ko. Officers repeatedly fail to follow

correct procedures, such as arresting the wrong individual, and then attempt to cover up their

mistakes. One amusing moment occurs when an officer, unsure of the charges to file, whispers,

“Oga, wetin we arrest am for again?” to which his supervisor replies in a similarly low tone,

“Just write down, suspicious behavior.” Even in a comedic context, it highlights the public's

frustrations over vague accusations and misuse of authority by the state.

The Black Book stands out as the only film that attempts to depict a more nuanced portrayal. In

one scene, an officer is offered a bribe, which he declines, asserting that he has committed to

55
serving with integrity, suggesting that professionalism exists in some corners of the police force.

However, shortly after, he is reassigned by a corrupt superior who remarks, with reference to this

officer's principled stance, “This one too is doing like the oyinbo, we do not need him in this

case.” This remark undermines his ethical stance and illustrates how institutional corruption

suppresses ethical policing.

Overall, professionalism is shown to be a rarity. Police forces generally exhibit poor training, a

lack of accountability, and disregard for due process. Those few who exhibit integrity are

depicted as ineffective within this corrupt institution. Such portrayals are aligned with real-life

challenges, implying that Nollywood films not only mirror collective sentiments but also reflect

the actual realities regarding these institutions.

Discussion of Findings
This research study highlights the various ways in which Nollywood films portray the Nigerian

police force, particularly in Gangs of Lagos, Muri & Ko, The Black Book, and Tokunbo. The

thematic analysis indicates that the appearance and language of police officers in these films

vary, as they tend to communicate in ways that reinforce societal stereotypes. For instance, in

Gangs of Lagos, one officer is depicted as disheveled and chain-smoking while shouting, “Wetin

you dey look? Na me be speaking to you!” This kind of informal and aggressive language

undermines professionalism and conveys a sense of disorder and insensitivity. In Muri & Ko, the

visual portrayal of the police is ridiculed through exaggerated uniforms: oversized shirts and ill-

fitting caps turn the police into subjects of mockery. In contrast, The Black Book strives for a

balance of formality in terms of attire and fluctuates between formal and casual language, yet

even this falls victim to a degree of informality with phrases like “We go look into am.”

56
Regarding attitudes, the scenario is even more troubling. In Gangs of Lagos, the police exhibit a

passive complicity towards their responsibilities, as shown when a senior officer advises a junior

officer, “make we no put mouth on this one. To them big men count.” This reflects selective

justice, implying that those in power are beyond reproach. Muri & Ko amplifies police

incompetence for comedic effect, as evidenced by a policeman who abruptly concludes an

unresolved market dispute by declaring, “Everybody, just dey go house! Case closed!” While

humorous, this careless demeanor mirrors real-life grievances regarding police indifference. The

issue of moral conflict and tension emerges in The Black Book, where a junior officer hesitates

to torture a suspect and is pressured by his superior to comply: “You dey pityam? Hit em and

strike em! make em talk!” This scene illustrates how systemic corruption overrides personal

morals. Similarly, Tokunbo presents aggressive behaviors, exemplified by an officer who

threatens a suspect, asserting, “must talk before I lose my temper.”

The four films persist in highlighting the negative vices associated with the police. For instance,

corruption is central in Gangs of Lagos when an officer accepts a bribe and states, "Just make my

boys smile." This striking transactional dialogue illustrates the commodification of loyalty and

protection. Bribery is depicted as a norm within institutions, as one character remarks, “Na who

get money dey win case in dis country.” This aligns with Adeleke's (2019) observations that

Nigerian films tend to amplify the monetization of justice as a means of expressing the

frustrations of the populace.

Brutality is effectively portrayed in Tokunbo, where uniformed men assault a suspect, yelling,

“Today you go confess or we go bury you!” This echoes the real-world issues of torture and

extrajudicial killings. Muri & Ko addresses incompetence, characterized by lines such as, “We

57
for catch dem if bike no spoil” or “Oga, wetin we arrest am again?”—indicating that their

inefficiency stems not from ineptitude but from a lack of procedural clarity.

Regarding professionalism, the films illustrate a distinct absence of it. In Gangs of Lagos, police

mishandle evidence and recklessly tamper with crime scenes, as shown with expressions like,

“Abeg, make we just carry the body comot.” Tokunbo entirely examines law enforcement as

extralegal, exemplified by one officer claiming, “this one no need paperwork—street justice we

dey do here.” Such representation indicates a disregard for due process and exacerbates the fear

and anxiety the public has cultivated towards lawless policing. Muri & Ko also addresses this by

pushing procedures into the realm of surrealism. In another example, an officer issues a false

charge by instructing, “Just write in the book, it was suspicious behavior,” mimicking how

Nigerian officers sometimes interpret laws broadly.

The only film that makes a somewhat more nuanced attempt at this is The Black Book, where

one of The Joint Ethical Officers mentions, “I made an oath to serve with integrity” and then is

swiftly reassigned with the offhand comment, “We don think we need you on this case.” This

reinforces the notion that honest officers are typically unrewarded in a corrupt system, a finding

also corroborated by Eke (2022) regarding the institutional decline of professional ethics.

Overall, these films play a significant role in shaping the public perception of the Nigerian

police. The recurring themes of corruption, brutality, and incompetence contribute to a

widespread narrative that the police are more feared than trusted. This aligns with Ojo’s (2021)

assertion that a persistent negative portrayal in Nigerian films fosters distrust among citizens.

When analyzing this phenomenon through the lens of cultivation theory, one could argue that

prolonged exposure to scenes where officers solicit bribes, physically assault suspects, or make

light of charges normalizes these actions for the audience. This not only serves as entertainment

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but also reinforces societal expectations regarding Nigerian police officers as unreliable, unjust,

and compromised. While these portrayals reflect genuine societal frustration and anger, the

absence of a balanced representation could lead to increased cynicism and hinder potential

reforms in the situation.

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 CHAPTER FIVE

SUMMARY, CONCLUSION, AND RECOMMENDATION

Summary
In the results of the current study, it is evident that Nollywood films predominantly depict the

Nigerian police force in a negative light. Numerous instances show police officers dressed in

unprofessional attire and filthy uniforms, which are typical in films like Gangs of Lagos, Muri &

Ko, The Black Book, and Tokunbo, reinforcing an image of chaos and disorder. The tone of their

dialogues often leans toward being overly casual, bordering on aggression, insults, or

intimidation, further contributing to perceptions of unprofessionalism. This portrayal aligns with

previous research indicating that Nollywood significantly influences public perceptions of law

enforcement. Through the repeated depiction of police officers as incompetent, corrupt, or

violent, these films perpetuate stereotypes that shape citizens' views on policing practices in

Nigeria.

Apart from issues related to attire and dialogue, the research also underscores recurring themes

of corruption, brutality, and inefficacy within the police force as represented in these films.

Numerous examples depict officers soliciting bribes from citizens, colluding with criminals, or

misusing their authority with little or no repercussions. Acts of police brutality, such as wrongful

arrests and excessive force, are prevalent elements of police injustice that strongly contribute to

the perception of law enforcement as a group operating with impunity. While some films attempt

to showcase professionalism and integrity among certain officers, these positive representations

are typically overshadowed by the more dominant narrative of corruption and lawlessness. This

scenario can be compared to the cultivation theory, which suggests that such stereotypical images

can influence viewer perceptions and reinforce existing biases.

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Ultimately, these portrayals lead to significant distrust in the Nigerian police force, as audiences

absorb the narratives presented in these films. Given the influential nature of Nollywood and its

capacity to reinforce or challenge existing stereotypes related to law enforcement, it is crucial to

address real societal issues. However, the heavily biased nature of these portrayals only

heightens skepticism among the public and may contribute to an even greater erosion of

confidence in law enforcement mechanisms. To alter the currently skewed image of the police

force in the public consciousness toward a more positive representation, Nollywood should also

depict criticism and negative behaviors within the police force, alongside examples of

commitment, professionalism, and ongoing efforts to improve their reputation. By doing so,

filmmakers can foster a more nuanced and constructive discourse about law enforcement issues

in Nigeria.

Conclusion
The depiction of the Nigerian police in Nollywood films can greatly impact how the public

perceives law enforcement, with these movies exploring various angles of police

professionalism, corruption, and brutality. By analyzing films such as Gangs of Lagos, Muri &

Ko, The Black Book, and Tokunbo, this research has shown that police officers in these films are

often characterized as corrupt, violent, and unprofessional, thus perpetuating these

representations. While such portrayals may reflect actual societal issues, they also contribute to

an ongoing cycle of distrust towards law enforcement. The recurring themes of abuse of power,

incompetence, and collusion with criminal elements in these films resonate with broader

concerns regarding police misconduct in Nigeria; therefore, it is crucial to evaluate how these

common depictions shape audience perceptions.

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Considering Nollywood's role in influencing social discourse, filmmakers bear the responsibility

of presenting a more nuanced image of law enforcement. While it is important to address police

misconduct, overly focusing on negative portrayals without recognizing positive practices and

reform efforts can create a divide between the community and the police. A portrayal that is less

binary, highlighting both the difficulties and advancements toward ethical policing, would foster

constructive conversations around reforms in law enforcement. This study suggests a

collaboration between the film industry and political leaders to reshape public understanding of

policing in Nigeria, offering a more comprehensive and informed perspective to its citizens.

Recommendations
1. Filmmakers in Nollywood should aim for fair representation of law enforcement,

highlighting both the challenges and positive contributions they make to society.

2. Engaging police consultants during scriptwriting can enhance the fairness and accuracy

of police depictions in films.

3. Public awareness initiatives should educate tourists on how to differentiate between

fictional portrayals and actual law enforcement, facilitated by government institutions

and civil society organizations.

4. Media regulatory bodies should establish guidelines to help minimize the exaggerated

negative representations of police in films.

5. Further research is needed to explore how Nollywood influences public perceptions of

the police within society.

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6. Implementing reforms within the police force to address issues such as corruption and

brutality can help reshape the public image of law enforcement, leading to more positive

portrayals in media over time.

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