Simply Divine

 A formal media analysis begins by examining how visual design elements communicate meaning. Peter Obi’s 2023 presidential campaign poster is immediately striking due to its purposeful use of color and typography. The dominant colors—green, white, and red—are not merely aesthetic choices; they are deeply symbolic. Green and white are taken directly from the Nigerian flag, visually anchoring the poster in themes of nationalism, unity, and identity. The inclusion of red, often associated with urgency or power, adds a layer of emotional energy to the visual message, suggesting action, passion, and transformation. Together, these colors create a palette that aligns Obi with patriotic duty while positioning him as a change agent in the country’s political landscape. Furthermore, the typography on the poster is bold and sans serif, which conveys modernity, simplicity, and directness. Peter Obi’s name is often written in large capital letters, emphasizing his visibility and leadership. Th...

 Chief Daddy is a film deeply embedded in the spectacle of wealth and privilege, making it a ripe text for Marxist analysis. The narrative revolves around the sudden death of a wealthy patriarch and the chaos that erupts among his family and dependents who hope to inherit his fortune. From a Marxist perspective, this setup immediately foregrounds the central role of class, ownership, and material inheritance in determining personal worth and power. The film’s visual landscape is drenched in symbols of luxury mansions, private cars, designer clothes, and excessive food, which all serve to glorify the upper class. These images are not just background details; they function ideologically to normalize wealth as a standard for success and moral superiority. The elite characters, despite their various flaws, are treated as the main subjects of the story, while the working-class characters, such as the chef and housekeeper, remain largely peripheral and voiceless. Additionally, Chief Dadd...

 To begin with, Stuart Hall’s encoding/decoding model emphasizes the process by which media messages are constructed (encoded) and then interpreted (decoded) by different audiences. CNN’s documentary report, “How a Bloody Night of Bullets Quashed a Young Protest Movement,” presents a powerful and emotionally charged account of the Lekki Toll Gate shooting that occurred during Nigeria’s #EndSARS protests in October 2020. Through carefully selected video footage, survivor testimonies, forensic evidence, and a serious narrative tone, CNN encodes the report with a dominant meaning: that Nigerian security forces violently suppressed peaceful protesters and attempted to cover it up. The editorial choices, such as the use of dramatic music, graphic visuals of gunfire and wounded protesters, and close-up interviews with victims, are not neutral. They are intentional constructions designed to prompt empathy, shock, and international concern. Moreover, the structure of the report supports th...

 To begin with, Laura Mulvey’s concept of the male gaze is rooted in the idea that women in film and visual media are primarily presented as objects of heterosexual male desire. This is evident in Tiwa Savage’s Koroba music video, where the camera deliberately lingers on her body, her curves, movements, and facial expressions, they are highlighted in slow motion and angles that emphasize sensuality. While the song itself contains themes of financial independence and the pursuit of pleasure without guilt, the visuals often contradict this empowerment by returning the viewer’s attention to Tiwa’s physical appearance. The lighting, costuming, and use of mirrors and reflective surfaces further reinforce this gaze, inviting viewers to consume her body as a spectacle rather than engage with her message. Furthermore, the mise-en-scène situates her within traditionally luxurious yet controlled environments: elaborate interiors, fine clothes, expensive jewelry, and aesthetic sets that commo...

  The Feliz Navidad Nigeria ad presents a cheerful view of the holidays. It’s lively, enjoyable, and well-crafted. However, when examined through bell hooks' perspective, it becomes more complex. bell hooks urged us to consider representation: who gets seen, who gets heard, and who is left out. In this advertisement, the spotlight is on one stylish, happy woman in a sleek, modern environment. She seems to embody celebration itself. Yet, this polished image of joy overlooks much of Nigeria’s social reality. It depicts a narrow version of success—young, light-skinned, fashionable, and wealthy. This limited portrayal can feel detached from the daily lives of many Nigerians who do not share that lifestyle. Additionally, the ad does more than show joy; it sells it. The entire experience of Christmas is linked to appearances: the bright lights, the neat outfits, and the fancy setting. For bell hooks, this illustrates how consumerism shapes culture. The ad suggests that to be happy at Chr...

           Watching the Feliz Navidad Nigeria ad, one thing stands out immediately: the beautiful young woman at the center. She dances, smiles, and moves with confidence, but she is also being watched. The camera follows her in a very specific way. It doesn’t just show her; it studies her. There are lingering shots of her face, her outfit, and how she moves. Laura Mulvey’s concept of the “male gaze” comes to mind here. Mulvey argued that mainstream media often presents women as objects for men to look at, and this ad fits that pattern. Although it is a Christmas ad meant to celebrate joy, it seems to celebrate how good she looks more.       As the ad continues, her presence dominates every scene. She is clearly meant to be the highlight, beautiful, graceful, and magnetic. However, if we take a moment to ask, “What is she doing?” the answer is: not much. She isn’t leading a story, making decisions, or even speaking directly. She reacts to the...

  Introduction to Stuart Hall's Theory and the Gucci x Dapper Dan Collaboration     By applying Stuart Hall's oppositional reading framework to the Gucci x Dapper Dan Made in Harlem A/W '18–'19 collection, we explore the complex relationships between identity, power, and cultural appropriation. Fashion is a form of cultural expression that can be both a site of resistance and a mechanism of dominance. Hall's concept of encoding and decoding in media texts offers a lens through which to view this phenomenon. This partnership, which paired Harlem's own Dapper Dan with the luxury label Gucci, is a moving illustration of these relationships. In the 1980s, Dapper Dan, who was renowned for his avant-garde designs that reinvented luxury logos, was sued by companies such as Gucci for using their trademarks without permission.    Gucci, however, recognised his impact in 2018 by reopening his Harlem atelier and launching a capsule collection as part of their partnership. ...

  The intersection of Gucci and Dapper Dan's partnership, which is highlighted in 'Made in Harlem,' A/W '18–'19, offers a glimpse into the dynamic world of cultural appropriation, commodification, and their intersection with class relations. The video reveals the immense craftsmanship and creativity of the Harlem culture, but from a Marxist standpoint, it captures the exploitative essence of ‘collaborations’ that mask the underlying issue of labor exploitation. This is captured in the all emcompassing term ‘exploitation’ which explains why Harlem, and their craftsmanship, continues to be ossified and lacking true identity. Gucci's exploitation of Harlem's culture marks a shift where cultural artifacts lose their socio-economic roots, only to be prited twelve bucks to incase flawlessly placed, highlighting structural violence reigned upon them. “Commodity fetishism,” as Karl Marx coined it, is useful in examining this partnership. As described in the video, t...