http://hdl.handle.net/123456789/1502 Tue, 14 Apr 2026 23:06:42 GMT 2026-04-14T23:06:42Z http://hdl.handle.net/123456789/7092 The mediation of cultural identities: texts and contexts in Ghanaian video-films Nanbigne, Vitus This paper examines the texts and contexts that inform the mediatory processes that Ghanaian video-films have engaged in towards the creation of new cultural identities, often ambivalent, but sometimes extreme and contestable. The narratives and subtexts of video-films, particularly those of the Pentecostal and occult genres, have often posited new cultural identities and worldviews. The historical and cultural contexts within which these videos are produced and consumed often demonstrate their potential to create new perceptions about Ghanaians in general, and to effectively engage in the mediations and negotiations for new forms of socialization. This paper discusses those processes that inform contemporary public perceptions of Ghanaian identity (or identities) and what role video-films play in such processes, particularly within a Ghanaian context. Using theories of identity, representation and mediation, the paper attempts a textual reading of a sample of video-films in order to frame their narrative contexts and ideological subtexts in relation to their role in identity formation 16p:, ill. Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/123456789/7092 2015-01-01T00:00:00Z http://hdl.handle.net/123456789/7090 Promoting Ghana’s traditional cultural aesthetics in Ghana’s most beautiful reality television show Dennis, Albert In recent times, the mass media in Ghana have come under heavy attack for what is often considered to be their suffocating antisocial content. Cultural nationalists in Ghana have expressed their aversion to the hegemonic representation of Western and other non-Ghanaian cultures, much to the detriment of local ones. However, there are a few mass media programmes that attempt to promote aspects of Ghanaian culture. Using Ghana’s most beautiful (GMB), a reality show produced by a privately-owned Ghanaian television channel, TV3, this paper attempts a critique of the representational motives of the programme vis-à-vis the nexus of foreign content and locally relevant ones. The paper undertakes an analysis of the 2013 edition of the programme and argues that, whilst GMB can be commended for offering a fair playing field for all the contestants in the show, it still exhibits traits of cultural hegemony and consumerism 21p:, ill. Mon, 03 Dec 2018 00:00:00 GMT http://hdl.handle.net/123456789/7090 2018-12-03T00:00:00Z http://hdl.handle.net/123456789/7089 Improvisation in Costume Design: The Production of Androcles and the Lion Dennis, Albert; Bello, Madinatu Costuming a period play such as George Bernard Shaw’s Androcles and the Lion is associated with diverse challenges of which identifying and employing materials needed to build similar costumes for use is a major challenge to the costumier. The purpose of the paper was, therefore, to identify ‘non – conventional’ materials which were to be used to build costumes for the play, Androcles and the Lion, written in 1912, set in ancient Roman civilization but staged on a contemporary Ghanaian stage. The play was written with both Greek and Roman characters. Library resources, archives, the internet as well as data from interviews conducted, constituted primary and secondary data on the kind of costumes used during the ancient Greek and the Roman civilization and the materials that they were made of. Based on the data collected, other alternative materials found in Ghana were used to improvise the Greek and the Roman costumes for the performance of Androcles and the Lion on a contemporary Ghanaian stage 11p:, ill. Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/123456789/7089 2015-01-01T00:00:00Z http://hdl.handle.net/123456789/7087 From text to performance: The costumier versus other personnel in the theatre Kwakye-Opong, Regina; Dennis, Albert The basis of this paper lies in the seeming misconception that clothing the actor is the sole responsibility of the costume designer. There are two components associated in the performing arts especially in the theatrical circle; the text and performance. In the text, the playwright puts his ideas together in the literal form and combines, among other things, dramatic elements and spectacle, logically applied to provide a more analytical coordination and also enable the text become intellectually appealing. Though, the onus of interpreting the text to create a character in a performance rests with the director, actor/performer, and designers (costume, make-up, set and light) it is envisaged to be the exclusive duty of the costumier. Using some theories, analysis and interpretation this paper shows how the costumier who, though directly associated with the clothes of performers, achieves this in conjunction with other personnel, especially the light and set designer. Ultimately the study contributes to our understanding of the critical examination for the aesthetic and intellectual intent of a text and the needed collaboration of theatre personnel in creating a believable character. It also makes a contribution to the on-going debates on why some characters are often (mis)represented in some stage/video/film productions 14p:, ill. Wed, 01 Jan 2014 00:00:00 GMT http://hdl.handle.net/123456789/7087 2014-01-01T00:00:00Z