Old song, new melody: gender contestations in the appropriated comedy of Samobaba’s Yorùbá Bollywood

References

• Aashiqui 2. (2013). Directed by Mohit Suri. Vishesh Films.
   Google Scholar
• Acholonu, C. O. (1995). Motherism: The afrocentric alternative to feminism. Afa Publishers.
   Google Scholar
• Adamu, A. U. (2010). The muse’s journey: Transcultural translators and the domestication of Hindi music in Hausa popular culture. Journal of African Cultural Studies, 22(1), 41–56. https://doi.org/10.1080/13696810903488579
   Web of Science ®Google Scholar
• Adenekan, S. (2021). African literature in the digital age: Class and sexual politics in new writing from Nigeria and Kenya. James Currey.
   Google Scholar
• Adeoti, G. 2014. Nigerian video films in Yorùbá. CBAAC Occasional Monograph. No 30. Centre for Arts and Black Civilisation.
   Google Scholar
• Adewoye, O. A. (2014). Rise of the ‘homo erotica’? Portrayal of women and gender role stereotyping in movies: Analysis of two Nigerian movies. Developing Country Studies, 4(4), 103–110. https://iiste.org/Journals/index.php/DCS/article/view/11112
   Google Scholar
• Adichie, C. (2018). Dear Ijeawele: A feminist manifesto in fifteen suggestions. Harper Collins.
   Google Scholar
• Agatha, U. (2010). Conflicting framings of women in nollywood videos. African Nebula, 1(1), 65–75. https://www.researchgate.net/publication/49599164_Conflicting_Framings_of_Women_in_Nollywood_Videos.
   Google Scholar
• Akinola, B. (2017). Triumph of destiny: Biography of Moses Olaiya Adejumo (M.O.N.). Sunshine Educational Consult.
   Google Scholar
• Baar Baer Dekho. (2016). Directed by Nitya Mehra. Dharma Productions.
   Google Scholar
• Bhabha, H. K. (1994). Location of culture. Routledge.
   Google Scholar
• Chiaro, D. (2018). The language of jokes in the digital age. Routledge.
   Google Scholar
• Chinweizu. (1990). Anatomy of female power: A Masculinist dissection of matriarchy. Pero Press.
   Google Scholar
• Devdas. (2002). Directed by Sanjay Leela Bhansali. Mega Bollywood Pvt. Ltd.
   Google Scholar
• Domitila. (1996). Dir. by Zeb Ejiro. Zeb Ejiro Film Productions.
   Google Scholar
• Elegbe, O. (2017). Women trauma and stereotype tradition in TundeKelani’s Film, Thunder Bolt. Cinej: Cinema Journal, 6(2), 144–164. https://doi.org/10.5195/CINEJ.2017.176
   Web of Science ®Google Scholar
• Glamour Girls. (1994). Directed by Chika Onukwufor. NEK.
   Google Scholar
• Gully Boy. (2019). Directed by Zoya Akhtar. Excel Entertainment, .
   Google Scholar
• Ija Orogun Taxi Driver Part I and Part II. (1983). Directed by Ade Afolayan (Ade Love). Friendship Motion Pictures, .
   Google Scholar
• Ija Orogun. (1982). Directed by Ade Afolayan (Ade Love). Friendship Motion Pictures.
   Google Scholar
• Jay, B. D., & Grusin, R. (2000). Remediation: Understanding new media. MIT Press.
   Google Scholar
• Krings, M. (2015). African appropriation: Cultural differences, mimesis and media. Indiana University Press.
   Google Scholar
• Larkin, B. (1997). Indian films and Nigerian lovers: Media and parallel modernities. Africa: Journal of the International African Institute, 67(3), 406–440. https://doi.org/10.2307/1161182
   Web of Science ®Google Scholar
• Mary, A. I., & Alola, U. V. (2020). Gender stereotypes in Nigerian films as a portrayal of the African Womanhood: A feminist perspective. Journal of Labour and Society, 23(2), 221–242. https://doi.org/10.1111/wusa.12465
   Web of Science ®Google Scholar
• Mathew, S. (1992). Nigeria and Indian: The use of film for development—Whisper in a crowd. African Media Review, 6(1), 25–33.
   Google Scholar
• Moore, T. E. (1987). Gender, attitudes towards women, and appreciation of sexist humour. Sex Roles, 16(10), 521–531. https://doi.org/10.1007/BF00292486
   Web of Science ®Google Scholar
• Niketić, P. (2019). Social harm(lessness) of gender humour: Critical analysis of gender-disparaging verbal humour. ТEME, г. XLIII(3), б. 3, јул септембар, стр. 827-838. https://www.ceeol.com/search/article-detail?id=823098
   Google Scholar
• Ogundipe, M. L. (1994). Re-creating ourselves: African women & critical transformations. Africa World Production.
   Google Scholar
• Onome. (1996). Dir. by Chico Ejiro. Virgin Organisation Production.
   Google Scholar
• Onookome, O. (1996). The context of film production in Nigeria: The colonial heritage. Ufuhamu: A Journal of African Studies, 24(3), 43–62. https://escholarship.org/uc/item/35b941z0
   Google Scholar
• Onookome, O. (2012). Nollywood, Lagos, and the good-time woman. Research in African Literature, 43(4), 166–186. https://doi.org/10.2979/reseafrilite.43.4.166
   Web of Science ®Google Scholar
• Onookome, O. (2000). Onome: Ethnicity, class, gender. In J. Haynes (Ed.), Nigerian video films (Revised and expanded ed.) (pp. 148–164). Ohio Research in International Studies Series.
   Google Scholar
• Oyewumi, O. (1997). The invention of women: Making an African sense of Western gender discourses. University of Minnesota.
   Google Scholar
• Salawu, O. (2021). Digital appropriation, youth culture and cybercrime in emergent Yorùbá Bollywood. In A. Afolayan (Ed.), Identities, histories and values in postcolonial Nigeria (pp. 131–148). Rowman and Littlefield.
   Google Scholar
• Shamsudeen, S. Kayan Mata Wahala. Yorùbá Bollywood: Instagram. Produced on August 5, 2020e; Retrieved 15 September, 2020, from. https://web.facebook.com/watch/?v=701125220437068
   Google Scholar
• Shamsudeen, S. Lockdown in hunger. Yorùbá Bollywood: Instagram. Produced on April 15, 2020c; Retrieved 15 September, 2020.
   Google Scholar
• Shamsudeen, S. Mumu raised to Power 2. Yorùbá Bollywood: Instagram. Produced on May 15, 2020b; Retrieved 15 September, 2020.
   Google Scholar
• Shamsudeen, S. Valentine. Yorùbá Bollywood: Instagram. Produced on February 2, 2019. Retrieved January 2, 2021.
   Google Scholar
• Shamsudeen, S. When it has been a month. Yorùbá Bollywood: Instagram. Produced on May 22, 2020a; Retrieved 15 September, 2020, from https://web.facebook.com/watch/?v=334526237227552
   Google Scholar
• Shamsudeen, S. When you dodge a bullet. Yorùbá Bollywood: Instagram. Produced on July 28, 2020d; Retrieved 15 September, 2020.
   Google Scholar
• Shifman, L., & Lemish, D. (2010). Between feminism and fun(NY)MISM. Information, Communication & Society, 13(6), 870–891. https://doi.org/10.1080/13691180903490560
   Web of Science ®Google Scholar
• Shubh Mangal Saavdhan. (2017). Directed by R. S Prasanna. ColourYellor Production.
   Google Scholar
• Yeku, J. (2015). Akpos don come again: Nigerian cyberpop hero as Trickster. Journal of African Cultural Studies, 28(3), 1–17. https://doi.org/10.1080/13696815.2015.1069735
   Web of Science ®Google Scholar
• Yeku, J. (2021). The regeneration of play popular culture as infrapolitics on Instagram. In P. Ugor (Ed.), Youth and popular culture in Africa: Media, music, and politics. Rochester UP.
   Google Scholar