Self-Government for Western Nigeria acknowledges and celebrates the impending changes within Nigeria, but it also endorses Britain’s historical role and continuing influence within Nigeria. The film was intended for African audiences, but avoids any references to nationalist demands, unrest or any anti-colonial rhetoric, instead presenting the events largely from a British perspective, as the camera follows the Princess Royal on her tour of the region. In showing the pageantry and formal ceremonies to mark the Royal arrival, it promotes the region’s ‘loyalty and affection to the Queen’. Repeated references are made to the Queen’s own visit a year earlier – itself an attempt to generate loyalty and quell unrest – and the commentary, speeches and the crowd sequences (in which Union Jacks are waved) all serve to promote Nigeria’s reciprocated loyalty to Britain. Speeches note the ‘continued co-operation with Her Majesty’s government and with her dominions’ and note the ‘spirit of devoted service that has helped the region to achieve its present status’.

The emphasis on the British crown and on ceremonial displays highlights the continuation of British traditions. For example, the commentator describes the handing over of the mace as a ‘ritual symbolic of centuries of British parliamentary tradition. A tradition that the Western region has inherited’. Chief Awolowo acknowledges that this act represents a ‘heritage of experience being passed to a young and forthright nation’. The film positions Chief Awolowo within the British establishment throughout – dancing with the governor’s wife, making speeches for the Princess Royal – and there is little evidence of any unrest or anti-British sentiment. Even when the commentator notes that the Princess’ visit to the University at Ibadan was cancelled, he does not explain the source or level of student unrest that forced the closure of the college for over a month.

The film’s representation of Nigerian life is largely consistent with other films produced by Nigerian film units. Film historian Brian Larkin noted the emphasis on modernisation – ‘turning infrastructural projects into representational objects’ – and in particular the important role religion plays within this ‘utopian ideal of a modern, yet still religious’ Nigeria (Larkin, 2008, 101). At the outset, the camera displays the ‘new offices’ of the Ministry of Home Affairs, while the repeated shots of planes and government buildings further emphasise this development. Religion remains integral to this modern society. First, a service at the central mosque in Kabana is said to underline ‘the essential unity of the people of Western Nigeria regardless of their own beliefs and creeds’. When the governor arrives, the commentator remarks that ‘all creeds were combining together at this important stage’ of the country’s development. Next, a lengthy sequence shows a service at St James’ Cathedral in Ibadan at which the Bishop warns that ‘true democracy may be unreliable without religion’. 

While the unit’s productions were intended primarily for ‘domestic consumption at mobile cinema shows’, Larkin noted that, in many respects, they seemed to be aimed at an ‘unfamiliar expatriate audience’ (Larkin, 2008, 101). Certainly the credits reveal a continuing reliance on European personnel, even though the Nigerian film units sought to make films by and for local audiences, and trained and employed African workers. Chief Awolowo claimed in 1957 that ‘of all the governments in Africa, we are the largest film producers, having the largest government cinema audience as well’ (Lagos Guardian, 29 August 2001). Yet, while there were plans to spend £240,000 on a new film studio, the Federal and Regional Governments still had to send their films overseas for processing ‘because there are at present no processing facilities in West Africa’ (Federal Annual Report, 1957, 144). Self-Government for Western Nigeria was presented primarily to local audiences as evidence of regional film production, yet in its focus on British dignitaries, in showing local popular support for the visiting Princess, and in the British voiceover and speeches, the film largely propagates an established colonial rhetoric.

Tom Rice (April 2009)