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“Breaking Barriers in Lionheart: A Critical Review Through Four Lenses”

  Lion heart is a Nigerian movie directed by Genevieve Nnaji in 2018. The movie portrayed how Chief  Ernest Obiagu where he owned a transport company named “ Lion Heart “. The man built the company on the foundations values and morals surrounding the family. The business later had a down town has it was facing financial struggles, when they owned the bank a huge amount of money but it was up to Ada Eze and her uncle Godswill Obiagu to find a solution that would save the “lions heart”. These lens that would use to analyze and evaluate how the movie turns out and how different types of people are involved in “ Lion Heart”  Section A : Oppositional gaze:  It’s a concept of how a black woman is the protagonist of the movie , where the  lead character, Adaeze Obiagu (Genevieve Nnaji), is a Black Nigerian woman who is shown as strong, intelligent, and capable.  The movie talks about how she has a position of authority of respect, leading her father’s co...
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“Designing a Vision: Visual Rhetoric and Political Identity in Peter Obi’s Campaign Poster”

  This positioning is key to constructing a leadership identity grounded in accessibility, empathy, and resolve . The background is often clean or blurred, keeping the viewer’s attention on the candidate rather than on symbols of wealth or power. This minimalist backdrop subtly emphasizes transparency and honesty , values that have been core to Obi’s personal brand. Symbolism: Nationhood, Change, and the “Obidient” Movement Beyond the technical elements of design, Obi’s campaign poster is layered with symbolic meaning . First, the inclusion of the Labour Party logo —typically featuring a gear and family—is crucial. The gear represents labor and productivity, while the family reflects communal care and responsibility. Together, these symbols reinforce a message of economic reform grounded in social justice . By placing the logo near his image, Obi positions himself as the embodiment of these values. Another powerful symbolic element is Obi’s attire. In many posters, he wear...
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Through a Marxist Lens: Wealth , labor, and the illusion of mobility

In Chief Daddy (2018), a Nigerian comedy-drama directed by Niyi Akinmolayan, the sudden death of a wealthy patriarch—Chief Beecroft—leaves a web of family members, mistresses, and hangers-on vying for a slice of his estate. On the surface, the film offers comedic relief and family drama, but beneath the glitz lies a rich site for ideological critique. Through the lens of Marxist theory, Chief Daddy can be read as a representation—and perhaps a soft endorsement—of elite privilege and class hierarchy. The film’s portrayal of wealth, labor, and inheritance reflects deeply entrenched capitalist values. While it gestures toward themes of class mobility and inequality, these issues are largely flattened or glossed over in favor of maintaining the spectacle of wealth and the aspirational fantasy it projects. Wealth and Ownership: Who Controls the Means of Production? At the heart of Marxist critique is the question of who owns the means of production, and in Chief Daddy, that question is ...
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