Abstract:
There has been constant resonance of feminine image misrepresentation
in most narratives since the (re)invention of video films across the African
continent. In spite of the binary struggle between the (presumed)
chauvinist filmmakers and their feminists’ counterparts, muscularity
always (re)emerges in new trends to dominate femininity. Consequently,
there seems a paradigm shift on the (mis)representation of women which
(re)enforces Laural Mulvey’s sexual voyeuristic objectification of
feminine gender as reflected in near-nude costumes as well as sexual
scenes that adorn most Ghana screens. This paper examines Frank Raja
Arase’s selected films that are randomly sampled to foreground these
voyeuristic imprints.