Abstract
Noel Carroll, in his seminal work on humor, posits the notion that comedy is inherently bound to the cultural milieu in which it originates, suggesting that its resonance may be confined to specific societies and struggle to transcend national boundaries. This assertion invites exploration within the context of Nollywood, Nigeria's vibrant film industry renowned for its prolific output of movies across various genres. Nollywood presents a compelling case study for investigating Carroll's assertion and this is due to its vast size enabling the exploration of diverse comedic styles. The question arises: to what extent does Nollywood comedy adhere to Carroll's notion of cultural specificity in comedy. Therefore, this paper aims to delve into the intricacies of cultural specificity in two Nollywood film; The wedding party Part one (2016) directed by Kemi Adetiba and Aki and Pawpaw (2021) directed by Biodun Stephen, investigating how and why certain set pieces, gags, jokes, wordplay and characters seem to be culturally specific, while other film elements transcend that cultural specificity?
Author Information
Maureen Okwulogu, University of Texas at Dallas, United States
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