Floribert Patrick Calvain Endong
Biographic Data
| ID | 4051928 |
|---|---|
| NAME | Floribert Patrick Calvain Endong |
| GIVEN NAMES | Floribert Patrick Calvain |
| FAMILY NAME | Endong |
| SIGNATURE | ENDONG F P C |
| AFFILIATIONS | Université de Dschang |
| ORCID | 0000-0003-1893-3653 |
| VERIFIED | Yes |
| TOTAL WORKS | 26 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 24 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
The ‘primitive’ villager discovers the lights of Lagos metropolis: A semiotico-philosophical reading of Muyideen Ayinde’s O Om’Eko and Femi Adebayo’s Jelili
Stereotyping queerness: The mythic contents of Cameroonian urban music
The bulk of scholarly works devoted to homophobia in Cameroon’s elite media mainly focus on television, newspapers and cinema. These works also concentrate essentially on the role of Western broadcasters and the Internet in the propagation of LGBTQIA+ messages and westoxification in the country. No modicum of attention has so far been given particularly to Cameroon popular music’s representation of the local LGBTQIA+ community. Meanwhile, this fo…
The Video Proves They’re All Cannibals: The Weaponisation of Ritualistic Cannibalism in Cameroon’s and Nigeria’s (Anti) Separatist Propaganda
For some decades now, the Cameroonian and Nigerian governments have been involved in a complex information war against some armed separatist movements operating in their respective countries. This longstanding war has partly been characterised by the use of gloomy Internet videos that represent the separatist fighters as war crimes perpetrators, human right violators, terrorists and barbaric forces. In line with this, the Cameroon and Nigeria gov…
Biyi Bandele, dir. Elesin Oba: The King’s Horseman. 2022. 96 minutes. Yoruba/English. Nigeria. Netflix. No price reported
Important but unpopular: A critical look at the political economy of indigenous language film production in Cameroon
The concept of indigenous language filmmaking is still a very insignificant aspect of Cameroon’s cinema industry. Some observers claim it is a stillborn child. This is so, irrespective of its recognised centrality to the preservation of Cameroon’s diverse cultures. Although indigenous language media communication in the country is many decades old, this cinema production paradigm is still avoided by the majority of Cameroonian cineasts. Rare are …
Global Perspectives on Soccer and the Media and Entertainment Industry
Cinema Occultism as Pseudo-Realism: Using Achille Mbembe’s Concept of “The Double” to Rationalize Nollywood Film Audiences’ Fetish Mindset
Like other forms of fictional productions, Nollywood occult movies are makebelieve. Yet, it is not uncommon for African audiences and film directors with religious or fetish mindsets to believe that the content of these occult films is real and imbued with energies that can negatively affect viewers, cast, and crew. Despite their fictional nature, Nollywood audiences’ tendency to perceive occult movies as real has received limited scholarly atten…
Political and Cultural Dynamics in Bollywood and Nollywood Films: A Comparative Perspective
Films are popularly believed to be reflection of reality as well as a representation of the societies in which they were produced. They are excellent windows into their societies of origin and could thus serve as good anthropological or historical documents containing data about socio-political events that have happened in their societies of origin. One of the multiple data one can extract/gather from films is the socio-cultural and political dyn…
The Invisible Affects the Visible
One remarkable aspect of life in most Black African societies is the popular belief in a world of spirits, which, by nature, is invisible to the non-initiated and the non-spiritual individuals but vibrant enough to affect human life in the real world. In line with this belief, many African storytellers, including Cameroonian and Nigerian cineastes, endow their fictional narratives with elements that reflect this myth. In most epic or religious Ni…
Occult African Films as a Reflection of Resurrection Stories: A Socio-Cultural Perspective on Cameroonian and Nigerian Video Films
The African religious landscape is partly characterized by a plurality of vibrant neo-Pentecostal and charismatic movements. Many of these movements are founded, led or influenced by perceived gifted individuals who claim to have had a firsthand experience with the spirit world through diverse mystical or paranormal means. Some of these means include near death experiences or resurrection from the dead. Although some research works have examined …
From televangelism to “tele-exorcism: A socio-ethical perspective on Christian television broadcast in Cameroon and Nigeria
Thanks to the forces of globalisation and localisation, televangelism has spread across the world and become so revolutionised that there presently exist a variety of televisual genres questionably classified under it. Indeed, the explosion and tropicalisation of televangelism have given birth to a myriad of televisual cultures relatable only nominally to the original American televangelism. This diversity and complexity raise definitional, epist…
From “Makers of Images” to Cineastes? Looking Critically at Festivals and Critics’ Reception of Nollywood
At its inception in the early 1990s, the Nollywood film movement did not attract a positive appraisal from most “learned” critics. Its non-conformist approach to filmmaking made most critics to associate it with the act of just “making images” as well as a lack of respect for cinema. Even major film festivals seemed “not friendly” to Nollywood films. Today, the quality of Nollywood films has remarkably improved even though much is still to be don…
To Kill or to Resurrect
Like other forms of West African popular cultures, Nigerian and Cameroonian films tap immensely into popular African myths, cosmologies and idiosyncrasies. One of the above sources of inspiration is the West African imaginary about death and the dead. In effect, Cameroonian and Nigerian movies have in most cases simultaneously mirrored and fueled the fetish mindset of Black African audiences about the causality of death. According to this fetish …
From Make-Believe to Real Esotericism: The Socio-Spiritual Values of the Depiction of Rituals, Shrines and Incantations in Nollywood Films
"Singing in Tongues" as Esotericism and Postmodern Christianity. A Study of Contemporary Nigerian Gospel Music
The Nigerian gospel music industry has over the years witnessed the emergence of many artistic, cultural and philosophical movements. One of these movements is the “singing-in-tongues” paradigm, particularly endorsed by the new generation of Pentecostal hip-hop musicians, many of whom seem bent on redefining the boundaries of Nigerian gospel music. Although remarkable, the singing-in-tongues paradigm (as deployed by Nigerian artistes) has remaine…
Nollywood Celebrities and the Emergence of Pro-Nigeria Fan Cultures in Cameroon: A Conceptual Discourse
Like other world cinemas, Nollywood has since its inception in the 1990s, engendered actor fandom inside and outside Nigeria. Indeed, the trans- nationalisation and explosion of Nollywood have enabled the popularity not only of Nigerian films, but also of Nollywood stars, in countries across the world. As mentioned in passing by a number of commentators, Nollywood celebrities have rapidly become stars in such places as African Diasporas in the We…
Deconstructing Collywood: A Conceptual Discourse on the Camerooness and Nigerianisation of Cameroon’s Video Film Industry
Since its inception in 2008, the Cameroonian video film industry (codenamed Collywood) has attracted mitigated criticism from both Cameroonian and foreign commentators. This criticism has partly bordered on the “camerooness” versus the “foreignness” of Collywood. While a number of critics are of the persuasion that the above-mentioned cinematic movement is not only nigerianised but one of the multiple vectors of the nigerianisation of the Cameroo…
The Westernization of the African zombie in Nollywood Films
The Nigerian film industry (nicknamed Nollywood) has, over the years, embraced foreign influences as a form of newness and singularity. Many films produced in the industry have displayed the capacity to re-contextualize and indigenize specific forms and styles associated with the global mass culture, including Hollywood horror films and the zombie genre. Thus, there have been at least two ways of representing zombies in the Nollywood films. While…
Reading Non-Verbal Cues in Jamie Uys’s The Gods must be Crazy: A Subliminal and Semiotic Analysis
AI Publications is an open access peer review international journal to publish the article in the field of Agriculture, Horticulture, Food science, Rural Development, Environment and Health Research, Chemistry, Mathematics,Physics
The ‘dark side’ of African digital diplomacy: The response of Cameroon and Nigeria to separatists’ online propaganda
Africa-based separatist groups have long deployed propaganda to woo the international community, seeking external support for their respective causes. In the digital age, they increasingly spread this propaganda over social media. Characterised by misinformation and disinformation, this propaganda has, in some cases, proven disruptive to the public diplomacy and nation building efforts of specific African countries. The propaganda has often trigg…
Images as Afro-positivist narratives and counter hegemonic strategy: A study of #TheAfricaTheMediaNeverShowsYou
To arrest the negative stereotypes of Africa in and outside the African continent, a number of civil society organizations and activists have launched various social media-assisted initiatives aimed at showcasing the positive facets of African cultures as well as the beautiful touristic attractions existing on the continent. One of such initiatives is the #TheAfricaTheMediaNeverShowsYou movement launched in 2015 to combat the negative and colonia…
Documenting Nigeria's Social and Cultural History Through Cinema: A Study of Biyi Bandele's Half of a Yellow Sun and Kunle Afolayan's October 1
In recent times, cinema has emerged as an alternative technology to document reality. This could be seen in the fact that both fictional and non-fictional films are increasingly deployed to chronicle various aspects of history. In the Nigerian moving pictures industry (Nollywood), this paradigm could be illustrated by the recent release of historical epic movies such as Lancelot Imasuen's Invasion 1897, Jeta Amata's Black November, Biyi Bandele's…
Deconstructing Images of the Global South Through Media Representations and Communication
Deconstructing Images of the Global South Through Media Representations and Communication" provides emerging research exploring the theoretical and practical aspects of how global media analyzes developing countries. Featuring coverage on a broad range of topics such as cultural affirmation, online platforms, and audience perception, this book is ideally designed for communications specialists, journalists, broadcasters, newscasters, conflict pho…
Cinema Globalization and Nation Branding: An Exploration of the Impact of Nollywood on the Nigerian Image Crisis
The Nollywood phenomenon has remarkably become a transnational cinematic culture, serving as one of the cardinal vectors of the exportation of Nigerian cultures to other African countries and the world at large. Though it may be presumptuous to claim that this cinematic industry is known everywhere in the world, one thing remains certain: Nollywood films are avidly consumed in many African countries, in African Diasporas and in some Caribbean cli…
Nollywood in Cameroon: Transnationalisation and Reception of a Dynamic Cinematic Culture
The Nigerian film industry (Nollywood) has phenomenally exploded to the extent of affecting audiences and social institutions in various African countries. In Cameroon particularly, various indications suggest that the industry is positively received, despite the persistence of perceptible anti-Nigerian and nationalist feelings among sections of the country’s audiences and communities of cinema ideologues. Using empirical understandings, observat…
Cinema Globalization and Nation Branding: An Exploration of the Impact of Nollywood on the Nigerian Image Crisis
The Nollywood phenomenon has remarkably become a transnational cinematic culture, serving as one of the cardinal vectors of the exportation of Nigerian cultures to other African countries and the world at large. Though it may be presumptuous to claim that this cinematic industry is known everywhere in the world, one thing remains certain: Nollywood films are avidly consumed in many African countries, in African Diasporas and in some Caribbean cli…
Nollywood in Cameroon: Transnationalisation and Reception of a Dynamic Cinematic Culture
The Nigerian film industry (Nollywood) has phenomenally exploded to the extent of affecting audiences and social institutions in various African countries. In Cameroon particularly, various indications suggest that the industry is positively received, despite the persistence of perceptible anti-Nigerian and nationalist feelings among sections of the country’s audiences and communities of cinema ideologues. Using empirical understandings, observat…
The Female Media Producer as an Advocate of Women’s Empowerment in Nigeria: The Cross River State Experience
This paper presents an investigation into Nigerian female journalists’ definition of their role vis-à-vis the two concepts of women’s empowerment/emancipation and feminism. It examines the level to which the country’s media and social environment are conducive to feminist journalistic expression. The paper argues that although a good number of female media producers in the country, demonstrate a strong adherence to feminism and women’s empowermen…
Cinema Globalization and Nation Branding: An Exploration of the Impact of Nollywood on the Nigerian Image Crisis
The Nollywood phenomenon has remarkably become a transnational cinematic culture, serving as one of the cardinal vectors of the exportation of Nigerian cultures to other African countries and the world at large. Though it may be presumptuous to claim that this cinematic industry is known everywhere in the world, one thing remains certain: Nollywood films are avidly consumed in many African countries, in African Diasporas and in some Caribbean cli…
Nollywood in Cameroon: Transnationalisation and Reception of a Dynamic Cinematic Culture
The Nigerian film industry (Nollywood) has phenomenally exploded to the extent of affecting audiences and social institutions in various African countries. In Cameroon particularly, various indications suggest that the industry is positively received, despite the persistence of perceptible anti-Nigerian and nationalist feelings among sections of the country’s audiences and communities of cinema ideologues. Using empirical understandings, observat…
Documenting Nigeria's Social and Cultural History Through Cinema: A Study of Biyi Bandele's Half of a Yellow Sun and Kunle Afolayan's October 1
In recent times, cinema has emerged as an alternative technology to document reality. This could be seen in the fact that both fictional and non-fictional films are increasingly deployed to chronicle various aspects of history. In the Nigerian moving pictures industry (Nollywood), this paradigm could be illustrated by the recent release of historical epic movies such as Lancelot Imasuen's Invasion 1897, Jeta Amata's Black November, Biyi Bandele's…
Deconstructing Images of the Global South Through Media Representations and Communication
Deconstructing Images of the Global South Through Media Representations and Communication" provides emerging research exploring the theoretical and practical aspects of how global media analyzes developing countries. Featuring coverage on a broad range of topics such as cultural affirmation, online platforms, and audience perception, this book is ideally designed for communications specialists, journalists, broadcasters, newscasters, conflict pho…
Reading Non-Verbal Cues in Jamie Uys’s The Gods must be Crazy: A Subliminal and Semiotic Analysis
AI Publications is an open access peer review international journal to publish the article in the field of Agriculture, Horticulture, Food science, Rural Development, Environment and Health Research, Chemistry, Mathematics,Physics
The ‘dark side’ of African digital diplomacy: The response of Cameroon and Nigeria to separatists’ online propaganda
Africa-based separatist groups have long deployed propaganda to woo the international community, seeking external support for their respective causes. In the digital age, they increasingly spread this propaganda over social media. Characterised by misinformation and disinformation, this propaganda has, in some cases, proven disruptive to the public diplomacy and nation building efforts of specific African countries. The propaganda has often trigg…
Images as Afro-positivist narratives and counter hegemonic strategy: A study of #TheAfricaTheMediaNeverShowsYou
To arrest the negative stereotypes of Africa in and outside the African continent, a number of civil society organizations and activists have launched various social media-assisted initiatives aimed at showcasing the positive facets of African cultures as well as the beautiful touristic attractions existing on the continent. One of such initiatives is the #TheAfricaTheMediaNeverShowsYou movement launched in 2015 to combat the negative and colonia…
Deconstructing Collywood: A Conceptual Discourse on the Camerooness and Nigerianisation of Cameroon’s Video Film Industry
Since its inception in 2008, the Cameroonian video film industry (codenamed Collywood) has attracted mitigated criticism from both Cameroonian and foreign commentators. This criticism has partly bordered on the “camerooness” versus the “foreignness” of Collywood. While a number of critics are of the persuasion that the above-mentioned cinematic movement is not only nigerianised but one of the multiple vectors of the nigerianisation of the Cameroo…
The Westernization of the African zombie in Nollywood Films
The Nigerian film industry (nicknamed Nollywood) has, over the years, embraced foreign influences as a form of newness and singularity. Many films produced in the industry have displayed the capacity to re-contextualize and indigenize specific forms and styles associated with the global mass culture, including Hollywood horror films and the zombie genre. Thus, there have been at least two ways of representing zombies in the Nollywood films. While…
From “Makers of Images” to Cineastes? Looking Critically at Festivals and Critics’ Reception of Nollywood
At its inception in the early 1990s, the Nollywood film movement did not attract a positive appraisal from most “learned” critics. Its non-conformist approach to filmmaking made most critics to associate it with the act of just “making images” as well as a lack of respect for cinema. Even major film festivals seemed “not friendly” to Nollywood films. Today, the quality of Nollywood films has remarkably improved even though much is still to be don…
To Kill or to Resurrect
Like other forms of West African popular cultures, Nigerian and Cameroonian films tap immensely into popular African myths, cosmologies and idiosyncrasies. One of the above sources of inspiration is the West African imaginary about death and the dead. In effect, Cameroonian and Nigerian movies have in most cases simultaneously mirrored and fueled the fetish mindset of Black African audiences about the causality of death. According to this fetish …
From Make-Believe to Real Esotericism: The Socio-Spiritual Values of the Depiction of Rituals, Shrines and Incantations in Nollywood Films
"Singing in Tongues" as Esotericism and Postmodern Christianity. A Study of Contemporary Nigerian Gospel Music
The Nigerian gospel music industry has over the years witnessed the emergence of many artistic, cultural and philosophical movements. One of these movements is the “singing-in-tongues” paradigm, particularly endorsed by the new generation of Pentecostal hip-hop musicians, many of whom seem bent on redefining the boundaries of Nigerian gospel music. Although remarkable, the singing-in-tongues paradigm (as deployed by Nigerian artistes) has remaine…
Nollywood Celebrities and the Emergence of Pro-Nigeria Fan Cultures in Cameroon: A Conceptual Discourse
Like other world cinemas, Nollywood has since its inception in the 1990s, engendered actor fandom inside and outside Nigeria. Indeed, the trans- nationalisation and explosion of Nollywood have enabled the popularity not only of Nigerian films, but also of Nollywood stars, in countries across the world. As mentioned in passing by a number of commentators, Nollywood celebrities have rapidly become stars in such places as African Diasporas in the We…
Global Perspectives on Soccer and the Media and Entertainment Industry
Cinema Occultism as Pseudo-Realism: Using Achille Mbembe’s Concept of “The Double” to Rationalize Nollywood Film Audiences’ Fetish Mindset
Like other forms of fictional productions, Nollywood occult movies are makebelieve. Yet, it is not uncommon for African audiences and film directors with religious or fetish mindsets to believe that the content of these occult films is real and imbued with energies that can negatively affect viewers, cast, and crew. Despite their fictional nature, Nollywood audiences’ tendency to perceive occult movies as real has received limited scholarly atten…
Political and Cultural Dynamics in Bollywood and Nollywood Films: A Comparative Perspective
Films are popularly believed to be reflection of reality as well as a representation of the societies in which they were produced. They are excellent windows into their societies of origin and could thus serve as good anthropological or historical documents containing data about socio-political events that have happened in their societies of origin. One of the multiple data one can extract/gather from films is the socio-cultural and political dyn…
The Invisible Affects the Visible
One remarkable aspect of life in most Black African societies is the popular belief in a world of spirits, which, by nature, is invisible to the non-initiated and the non-spiritual individuals but vibrant enough to affect human life in the real world. In line with this belief, many African storytellers, including Cameroonian and Nigerian cineastes, endow their fictional narratives with elements that reflect this myth. In most epic or religious Ni…
Occult African Films as a Reflection of Resurrection Stories: A Socio-Cultural Perspective on Cameroonian and Nigerian Video Films
The African religious landscape is partly characterized by a plurality of vibrant neo-Pentecostal and charismatic movements. Many of these movements are founded, led or influenced by perceived gifted individuals who claim to have had a firsthand experience with the spirit world through diverse mystical or paranormal means. Some of these means include near death experiences or resurrection from the dead. Although some research works have examined …
From televangelism to “tele-exorcism: A socio-ethical perspective on Christian television broadcast in Cameroon and Nigeria
Thanks to the forces of globalisation and localisation, televangelism has spread across the world and become so revolutionised that there presently exist a variety of televisual genres questionably classified under it. Indeed, the explosion and tropicalisation of televangelism have given birth to a myriad of televisual cultures relatable only nominally to the original American televangelism. This diversity and complexity raise definitional, epist…
The Video Proves They’re All Cannibals: The Weaponisation of Ritualistic Cannibalism in Cameroon’s and Nigeria’s (Anti) Separatist Propaganda
For some decades now, the Cameroonian and Nigerian governments have been involved in a complex information war against some armed separatist movements operating in their respective countries. This longstanding war has partly been characterised by the use of gloomy Internet videos that represent the separatist fighters as war crimes perpetrators, human right violators, terrorists and barbaric forces. In line with this, the Cameroon and Nigeria gov…
Biyi Bandele, dir. Elesin Oba: The King’s Horseman. 2022. 96 minutes. Yoruba/English. Nigeria. Netflix. No price reported
Important but unpopular: A critical look at the political economy of indigenous language film production in Cameroon
The concept of indigenous language filmmaking is still a very insignificant aspect of Cameroon’s cinema industry. Some observers claim it is a stillborn child. This is so, irrespective of its recognised centrality to the preservation of Cameroon’s diverse cultures. Although indigenous language media communication in the country is many decades old, this cinema production paradigm is still avoided by the majority of Cameroonian cineasts. Rare are …
The ‘primitive’ villager discovers the lights of Lagos metropolis: A semiotico-philosophical reading of Muyideen Ayinde’s O Om’Eko and Femi Adebayo’s Jelili
Sociology (17 works) · Political science (14 works) · Art (13 works) · Law (12 works) · Media studies (11 works) · Literature (10 works) · African history and culture studies (9 works) · Movie theater (8 works) · Politics (8 works) · Aesthetics (7 works)