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Social Shaping through Nigerian Cinemas

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The theory of social shaping of technology is developed through the synthesis of technological determinism and social construction of technology in describing human-machine relations. When a technology emerges, it is both influenced and influencing. Society gives rise to the technology; however, the original purpose of the technology may alter and affect some aspects of society. The use of the technology by specific sectors or groups in society can be surprising, like Black Twitter, thus altering the development of technology. A key example of this situation is seen in the introduction of cinema theaters in northern Nigeria. In northern Nigeria, class distinction based on race and gender was already present. The white Europeans formed the elite higher class with the Lebanese and Arabs below. Furthest down the social latter were the Nigerians, who were then split between Hausa Muslim, consisting of political Nigerian figures, and Christian, including the low class migrants. This structure of power formed by race as well as social economic standing, further dividing each group in Nigerian society.

The addition of cinema theaters challenged this idea of social structure. However, the preexisting situation led to more social hierarchy when Lebanese cinema theater owners set a schedule where “two nights a week were reserved for Europeans and Arabs and two for African audiences” (Larkin 325). The cinema was seen as a social activity, one of excitement and pleasure. Looking at social shaping, its technological entrance could have brought people together, intermixing, regardless of race; however, the social structure of colonial racism and class shaped the further development of this technology. The cinema was yet another way to keep social groups distinct. In Stephanie's work, she reiterates the development of a hierarchy formed by race that is embedded in society and continues reestablishing itself as the world around it changes, which could lead to less inequality and ranking if approached differently. Additionally, the so called users of this technology, or media, revolves around time and space. This is described by Chloë as the theaters can be occupied by specific races on certain days and times.

The social structure of Nigerian was further shaped by gender. The principles of cinema differed between men and women in what was acceptable. The idea of intermixing genders was outrageous and “so intense that cinema theaters never became acceptable for women” (Larkin 223). While males of the lower racial status could enjoy an afternoon at the theater, women of any race were not socially accepted there. If a women decided to go, she “[was] seen as a karuwai (independent women/prostitute)” (Larkin 227).  Hence, women’s attendance was viewed much more harshly, even if their intentions were righteously moral compared to their male counterpart’s. Cinema theaters drew a more definite line between gender, race, and class, extending and solidifying ideas of social hierarchy and spaces and practices of power.
 

This page has paths:

  1. Social Power Stephanie Wiehe

This page has tags:

  1. Brian Larkin Anna Quinn
  2. Anna Quinn, Author Anna Quinn
  3. Black Twitter Kayla McCoy
  4. Gender Anna Quinn
  5. Race Anna Quinn
  6. Power Dynamics Anna Quinn