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NIGERIANGATE is a true story. It is about the scams that are perpetrated around the world and out of the country of Nigeria. "I have gone through the entire process, and my bitter experience made me come to the conclusion of needing to describe the entire episode. However, after the experience, I am aware that 419 scams exist in Nigeria, and many are still the victims of the same." This is an eye-opening book that serves as a warning to others who are in the process of getting involved or are already involved in a scam, people who are itching to get rich by a shortcut. "I am a victim of the scam, though all my projects are in vogue, which I have witnessed when I went to Nigeria. The entire fund in question has been siphoned off by the perpetrators, who are disguised and are without any moral turpitude. Hence the NIGERIANGATE emergence." If you have ever been tempted by get-rich-quick schemes, this book is your warning call! Author Bio: M.S. Natarajan was a mechanical engineer in the Indian Air Force. He is now a retired pensioner and lives in Chennai, India. Publisher's website: http: //sbpra.com/msnatarajan
This volume is produced in commemoration of the official retirement of Professor Kay Williamson from the Department of Linguistics and Communication Studies, University of Port Harcourt, Nigeria. The contributing essayists cover five main generations of Nigerian linguists. The collection is divided into six sections: Language, history and Society; Applied Linguistics and Orthography Design; Gender and Communication Studies; Stylistics and Literature; Pragmatics, Discourse Analysis and Translation; and Formal Linguistics. Some of the contributors include: Ayo Bamgbose, Okon Essie, Ben Elugbe, P.A. Nwachukwu, E.N. Emenanjo, P. Anagbogu, Chinyere Ohiri-Aniche, O.M. Ndimele, O.G. Harry, Levi Igwe, C.U. Omego, O. Ojukwu, A.U. Weje, O.N. Anyanwu and A. Idafuro.
"Man is not measured by his genes, but rather how those genes stand against society's expectations." In the years following the destruction of Mount Olympus, the heroes of the day were housed in the Dark Continent of Africa. Among them, two boys will set out on an adventure of epic proportions. Facing off with mythological beasts, social injustices, and the growing pains associated with normal human development, the two boys will form a bond that transcends their achievements. However, when tragedy strikes on the eve of the most important day in one boy's life, even the Gates of Hell will be unable to restrain his fury. A tragic hero and a patriarch, these boys will become the stuff of legend in a time when all of their obstacles are legendary.
Nigerian video films--dramatic features shot on video and sold as cassettes--are being produced at the rate of nearly one a day, making them the major contemporary art form in Nigeria. The history of African film offers no precedent for such a huge, popularly based industry. The contributors to this volume, who include film and television directors, an anthropologist, and scholars of film studies and literature, take a variety of approaches to this flourishing popular art. Topics include aesthetic forms and distribution; the configurations of various ethnic audiences; the new media environment dominated by cassette technology; the video's materialism in a period of economic collapse; transformation of the traditional Yoruba traveling theater; individualism and the moral crisis in Igbo society; Hausa cultural values; the negotiation of gender roles, and the genre of Christian videos.
African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in 1969 the biennial Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These “Nollywood” films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema. Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a comparison of these two main African cinema modes. Contributors: Ralph A. Austen and Mahir Şaul, Jonathan Haynes, Onookome Okome, Birgit Meyer, Abdalla Uba Adamu, Matthias Krings, Vincent Bouchard, Laura Fair, Jane Bryce, Peter Rist, Stefan Sereda, Lindsey Green-Simms, and Cornelius Moore