Abstract
Notably, Nigerian theatre extends beyond its physical location to the virtual space, emerging as digital performances. A layer of mediated performances overlays this virtual environment and is reinforced in many ways. It is interesting to note that within these mediated performances, there are references to women which could be interpreted as misconceptions about perceived bias and prejudices against women. Leaning on this notion, this study seeks to explore the prevailing themes in Nigerian Digital performances and interrogate the extent of objectification and patriarchal bias that exist within the performances. Through the lenses of feminist criticism, cultural ideologies and theories of digital media, this paper critically examines some of these digital performances with regards to their portrayal of women and goes on to discuss contending realities that have shaped this portrayal. Findings of this study reveal that Mark Angel presents a form of objectification that posits that women are bound to internalise the society's perspective as a view of what their bodies should be, while Battabox objectifies the woman sexually and defines her as a commodity with a price tag; a description that aligns it with sexual objectification. It advocates that, in order to overcome the miscommunication regarding women, a more profound and radical 'spin' is needed, as women's competing desires and realities are contained within these created terrains. Additionally, the paper presents pragmatic alternatives for the biased digital signals that are portrayed in the virtual space.
Introduction
The arts of the theatre have grown beyond the traditional performance spaces because, like every other field, theatre has embraced the possibilities in technological innovations. However, the interface of theatre and technology has not invalidated earlier practices, rather the existing practices are made to interact with digital technology. Marshall McLuhan (2004) argues that a new medium 'is never an addition to an old one, nor does it leave the old one in peace; it never ceases to oppress the older media until it finds new shapes and positions for them' (p. 158). Just as the invention of television brought entertainment into the living room, internet facilities make digital performances possible and now the audience can consume theatrical products anywhere and anytime via internet-enabled devices. Digital performances are simply theatrical arts that are disseminated using internet applications and other replication technologies. It is one of the latest genres that have emerged in the arts. Dixon (2007) defines digital performance to include:
All performance works where computer technologies play a key role rather than a subsidiary one in content, techniques, aesthetics, or delivery forms. This includes live theatre, dance and performance art that incorporates projections that have been digitally created or manipulated; robotic and virtual reality performances; installations and theatrical works that use computer sensing/activating equipment or telematics techniques; and performative works and activities that are accessed through the computer screen, including cybertheatre events, MUDs, MOOs and virtual worlds, computer games, CD-ROMs, and performative net.art works (p. 3).
Some studies have shown the beneficial effects of taking theatre to the cyber space while others show a deterioration in the presentation and imaging of the woman. This paper examines female objectification as a form of gender bias which brings about miscommunication in Nigerian digital performances. It argues that these performances seem to cement patriarchal narratives while perpetuating women's subjugation, thereby making the woman an object of male gratification.
Women in a variety of endeavours have received recognition for their efforts to accomplish remarkable life goals, but they still struggle to gain respect as human beings who can be the heroes of their own tales. In addition to the challenges that women confront, objectifying behaviours are being promoted through digital performances. Treating or dismissing women as commodities that can be acquired and discarded or presented as objects of manipulation at will is disrespectful to say the least. Some digital performances' storylines are patriarchal in nature, portraying women as objects in general. As a result, the way digital performances are portrayed based on gender demands careful consideration. Among other things, this paper argues that women's representation in the media ought to change as they are also key players in societal development and health and, on the other
hand, is the role media products play in moulding societal focus. As noted by Ekpe & Wekpe (2023), “media products have proven [sic] valuable tools for engaging and analysing human concerns… they have been appropriately situated to reiterate viable communication messages. They have also been employed as veritable moments of propaganda” (130).
All performance works where computer technologies play a key role rather than a subsidiary one in content, techniques, aesthetics, or delivery forms. This includes live theatre, dance and performance art that incorporates projections that have been digitally created or manipulated; robotic and virtual reality performances; installations and theatrical works that use computer sensing/activating equipment or telematics techniques; and performative works and activities that are accessed through the computer screen, including cybertheatre events, MUDs, MOOs and virtual worlds, computer games, CD-ROMs, and performative net.art works (p. 3).
Some studies have shown the beneficial effects of taking theatre to the cyber space while others show a deterioration in the presentation and imaging of the woman. This paper examines female objectification as a form of gender bias which brings about miscommunication in Nigerian digital performances. It argues that these performances seem to cement patriarchal narratives while perpetuating women's subjugation, thereby making the woman an object of male gratification.
Women in a variety of endeavours have received recognition for their efforts to accomplish remarkable life goals, but they still struggle to gain respect as human beings who can be the heroes of their own tales. In addition to the challenges that women confront, objectifying behaviours are being promoted through digital performances. Treating or dismissing women as commodities that can be acquired and discarded or presented as objects of manipulation at will is disrespectful to say the least. Some digital performances' storylines are patriarchal in nature, portraying women as objects in general. As a result, the way digital performances are portrayed based on gender demands careful consideration. Among other things, this paper argues that women's representation in the media ought to change as they are also key players in societal development and health and, on the other
hand, is the role media products play in moulding societal focus. As noted by Ekpe & Wekpe (2023), “media products have proven [sic] valuable tools for engaging and analysing human concerns… they have been appropriately situated to reiterate viable communication messages. They have also been employed as veritable moments of propaganda” (130).
Content
Theatrical activities in Nigeria have been profoundly influenced by the operations of the virtual space. The changes are happening quickly and in a subtle way because of the ever-increasing number of internet users in Nigeria. Statistics from Statista as of October 2024 show that Nigeria tops the chart as the country with the highest number of internet users in Africa, with 108.27 million users; giving a reasonable gap to the second and third country which are Egypt (with 54.74 million users) and Kenya (with 46.87 million users). This figure is projected by Statista to grow to 152.28 in 2025. Further data by Statista reveal that internet usage penetration in Nigeria is on a steady rise, growing from 30% in 2013 to 32.6% in 2014 and then 34.8%, 37.1%, 40%, 43.1%, 61.4% and 46.6%, respectively, between 2014 and 2020. Still in line with reports on the huge number of internet users in Nigeria, DigitXplus (2024, p. 9) reports that Nigeria ranks 6th in the world for countries with the highest number of internet users. This is an indication that the virtual space is a striving concern for the Nigerian populace and a major destination for theatrical contents.
Also, within the last two years, giant operators of the virtual space have made visits and effected business plans to encourage and further aid the growth of internet usage in Nigeria. Such include the visit of The Chief Executive Officer and Founder of social networking app – Facebook, Mark Zuckerberg, to Nigeria. ThisDay (2018) reports that the visit which was on the 30th of August, 2016, was Zuckerberg's first visit to Africa. Earlier in the year 2016, Facebook had announced that the population of Nigerians on Facebook was 16 million and, upon his visit, Zuckerberg announced that 'the figure has grown to 18 million and Nigeria still maintains its position as the largest market for Facebook in Africa'. Again in 2018, as stated by The Guardian, 'Facebook deepened its investment and commitment in Nigeria by unveiling the NG_Hub in Lagos, Nigeria, on the 22nd of May. It was its first flagship community hub space in Africa'. Still in line with activities that recognise the strength of internet usage in Nigeria and the possible growth opportunities for users of the virtual space, Channels Television (2018) reports that 'Tech giant, Google, has launched its free Wi-Fi service for Nigerians, the Google Station, in Ikeja, Lekki and other parts of Lagos'. Channels Television quoted the Google Nigeria Country Director, Juliet Ehimuan-Chiazor as saying that the developments are aimed at helping more Nigerians and Africans to benefit from the opportunities the web has to offer. Also, 'the free Wi-Fi service will be launched in 200 locations in five cities across Nigeria by the end of 2019'. All these are pointers that internet usage in Nigeria will keep growing and thus provide a sustained market for operators that utilise the internet.
Review of Related Literature
Digital performance is not entirely a new phenomenon, but rather a morph from existing art forms. It represents the adaptation and evolving trend of older forms of theatrical activities that now produce an exciting experience. This expression supports the assertion that 'we are engaged in a transformation of the entire world (and ourselves) into mere raw materials or standing reserves' (Heidegger, 1977, pp. 155). Ekpe & Okoronkwor (2024) add that 'digital performance is pervasive and encompasses various presentational and communicational facets of electronic daily life' (p. 29). They add that 'beyond the concern for change in space experience, lies the contents promoted' (p. 29). Notably, theatre is embracing the rapidly evolving media and by moving to the cyber space, there seems to be more patronage as the reach is expanded to meet different needs and desires. Also, the appeal feature is heightened as the process of digitalisation creates enhanced representation of the contents. The concept of digital performance is a pertinent subject of interest and research due to the fact that digitalisation of performances is getting more and more popular. This explanation draws inference from the Mediamorphosis theory which states that new media do not arise spontaneously and independently; rather, the earlier forms of media tend to adapt and evolve continuously rather than die, they either morph from something that already exists or emerge gradually from the transformation. Mediamorphosis is 'the transformation of communication media usually brought about by the complex interplay of perceived needs, competitive and political pressures and social and technological innovation' (Fidler, 1997, pp. 22-23).
The mediamorphosis theory recognises digitalisation as a main feature of the artistic communication and stresses its development as being important to the production, reproduction, distribution and reception of products. Fidler (1997, pp. 22-23) stresses that digitalisation has changed the way we manipulate texts, images and sounds. Blau (2025, pp. 23-25) acknowledges the tendency as well, arguing that theatrical practices are evolving into more favourably positioned forms and taking on a variety of shapes. He emphasises this point by outlining the distinctions between mediatised forms (digital performances) and live performances. He infers that both forms compete for audiences in the cultural marketplace, and that mediatised forms have gained the advantage with particular thanks to the features of technological innovations. In establishing the relationship between live theatre and mediated form, Blau (2025) states that:
The theatre's status has been continually threatened by what Adorno named the culture industry and . . . the escalating dominance of the media. “Do you go to the theatre often?” That many have never gone, and that those who have, even in countries with established theatre traditions, are going elsewhere or, with cable and VCRs, staying home, is also a theatrical fact, a datum of practice (p. 76).
Alongside its good aspects, digital performances are equally full of misrepresentations of
women, which is a recurring subject. As entertaining, informing and widely distributed as it may be, there seems to exist an obvious gender bias because the performances tend at some time to objectify female characters and at other times pass generalised judgment on women. The objectification and commodification of the woman's body in digital theatrical performances reflect a norm and appear to sustain a culture that abuses woman's sexuality. On the other hand, the woman's body has become a trophy used by some artists to place themselves in the spotlight. This study leverages on the concept of technological determinism which advocates that a society's technology defines the development of its social structure and cultural values. In this context, the objectification of women via the media showcases the patriarchal placement of women in society, while at the same time encourages the widespread of such placement. The treatment of women depicted in a society's media can influence the developmental imperatives of such society. This appears to be in line with Karl Marx's perception that changes in technology affect social relations and organisational structure, and that social relations and cultural practices ultimately centre on a society's economic and technological foundation. As society develops 'new production forces like technology, material life and class order become mutable' (Eze, 2014, p. 70). Relatively, technology is seen as the basis for all human activities, it is believed that technology is the key governing force in society (Smith & Marx, 1994, p. 174). The media is a very powerful and explicit determinant, and our use of particular media may have subtle effect on us (McLuhan, 2004, p. 158). The view above explains the trend and possible effect contents of digital performances are likely to evoke especially as they record widespread involvement and keep growing at an alarming rate. The increase is adjudged by the number of content providers emerging in the digital performance field...(Download full article below)
Also, within the last two years, giant operators of the virtual space have made visits and effected business plans to encourage and further aid the growth of internet usage in Nigeria. Such include the visit of The Chief Executive Officer and Founder of social networking app – Facebook, Mark Zuckerberg, to Nigeria. ThisDay (2018) reports that the visit which was on the 30th of August, 2016, was Zuckerberg's first visit to Africa. Earlier in the year 2016, Facebook had announced that the population of Nigerians on Facebook was 16 million and, upon his visit, Zuckerberg announced that 'the figure has grown to 18 million and Nigeria still maintains its position as the largest market for Facebook in Africa'. Again in 2018, as stated by The Guardian, 'Facebook deepened its investment and commitment in Nigeria by unveiling the NG_Hub in Lagos, Nigeria, on the 22nd of May. It was its first flagship community hub space in Africa'. Still in line with activities that recognise the strength of internet usage in Nigeria and the possible growth opportunities for users of the virtual space, Channels Television (2018) reports that 'Tech giant, Google, has launched its free Wi-Fi service for Nigerians, the Google Station, in Ikeja, Lekki and other parts of Lagos'. Channels Television quoted the Google Nigeria Country Director, Juliet Ehimuan-Chiazor as saying that the developments are aimed at helping more Nigerians and Africans to benefit from the opportunities the web has to offer. Also, 'the free Wi-Fi service will be launched in 200 locations in five cities across Nigeria by the end of 2019'. All these are pointers that internet usage in Nigeria will keep growing and thus provide a sustained market for operators that utilise the internet.
Review of Related Literature
Digital performance is not entirely a new phenomenon, but rather a morph from existing art forms. It represents the adaptation and evolving trend of older forms of theatrical activities that now produce an exciting experience. This expression supports the assertion that 'we are engaged in a transformation of the entire world (and ourselves) into mere raw materials or standing reserves' (Heidegger, 1977, pp. 155). Ekpe & Okoronkwor (2024) add that 'digital performance is pervasive and encompasses various presentational and communicational facets of electronic daily life' (p. 29). They add that 'beyond the concern for change in space experience, lies the contents promoted' (p. 29). Notably, theatre is embracing the rapidly evolving media and by moving to the cyber space, there seems to be more patronage as the reach is expanded to meet different needs and desires. Also, the appeal feature is heightened as the process of digitalisation creates enhanced representation of the contents. The concept of digital performance is a pertinent subject of interest and research due to the fact that digitalisation of performances is getting more and more popular. This explanation draws inference from the Mediamorphosis theory which states that new media do not arise spontaneously and independently; rather, the earlier forms of media tend to adapt and evolve continuously rather than die, they either morph from something that already exists or emerge gradually from the transformation. Mediamorphosis is 'the transformation of communication media usually brought about by the complex interplay of perceived needs, competitive and political pressures and social and technological innovation' (Fidler, 1997, pp. 22-23).
The mediamorphosis theory recognises digitalisation as a main feature of the artistic communication and stresses its development as being important to the production, reproduction, distribution and reception of products. Fidler (1997, pp. 22-23) stresses that digitalisation has changed the way we manipulate texts, images and sounds. Blau (2025, pp. 23-25) acknowledges the tendency as well, arguing that theatrical practices are evolving into more favourably positioned forms and taking on a variety of shapes. He emphasises this point by outlining the distinctions between mediatised forms (digital performances) and live performances. He infers that both forms compete for audiences in the cultural marketplace, and that mediatised forms have gained the advantage with particular thanks to the features of technological innovations. In establishing the relationship between live theatre and mediated form, Blau (2025) states that:
The theatre's status has been continually threatened by what Adorno named the culture industry and . . . the escalating dominance of the media. “Do you go to the theatre often?” That many have never gone, and that those who have, even in countries with established theatre traditions, are going elsewhere or, with cable and VCRs, staying home, is also a theatrical fact, a datum of practice (p. 76).
Alongside its good aspects, digital performances are equally full of misrepresentations of
women, which is a recurring subject. As entertaining, informing and widely distributed as it may be, there seems to exist an obvious gender bias because the performances tend at some time to objectify female characters and at other times pass generalised judgment on women. The objectification and commodification of the woman's body in digital theatrical performances reflect a norm and appear to sustain a culture that abuses woman's sexuality. On the other hand, the woman's body has become a trophy used by some artists to place themselves in the spotlight. This study leverages on the concept of technological determinism which advocates that a society's technology defines the development of its social structure and cultural values. In this context, the objectification of women via the media showcases the patriarchal placement of women in society, while at the same time encourages the widespread of such placement. The treatment of women depicted in a society's media can influence the developmental imperatives of such society. This appears to be in line with Karl Marx's perception that changes in technology affect social relations and organisational structure, and that social relations and cultural practices ultimately centre on a society's economic and technological foundation. As society develops 'new production forces like technology, material life and class order become mutable' (Eze, 2014, p. 70). Relatively, technology is seen as the basis for all human activities, it is believed that technology is the key governing force in society (Smith & Marx, 1994, p. 174). The media is a very powerful and explicit determinant, and our use of particular media may have subtle effect on us (McLuhan, 2004, p. 158). The view above explains the trend and possible effect contents of digital performances are likely to evoke especially as they record widespread involvement and keep growing at an alarming rate. The increase is adjudged by the number of content providers emerging in the digital performance field...(Download full article below)
Conclusion
A significant part of artist marketing and promotion involves digital performances. They generate a lot of attention and penetrate different angles of the online media space. The objectification of females in Nigeria is borne out of the desire of a patriarchal society to subjugate and dominate. The most prevalent form of female objectification in the Nigerian context has been in advertisements and recent studies seem to show that focus is heightened in digital performances where the female body is defined as an object in thousands of different ways and her personhood determined by her bodily ornaments and societal construct of subjugation. In a bid to sell an idea, product, generate virtual followers and earn money from social platform operators, the woman's body is
dismembered, fragmented and objectified. The diversified forms of female objectification in the performances range from women's sexual roles, women's 'supposed' materialistic nature, 'acceptable' body size for a woman, the woman as a 'commodity', the dependent nature of women and so on. These portrayals, consciously and unconsciously create a definition assumed for the woman and this imposed definition is more of a reflection of what the objectified woman is expected to be. The performances analysed in this paper expose the struggles women often face in a society that institutionalizes competition in every aspect of women's life which at the same time denies women the ability to compete and still be feminine. Analytically, Battabox and Mark Angel performances illustrate the different forms of objectification identified by Nussbaum and Langton. The elements of instrumentality, denial of autonomy and subjectivity plus violability, ownership and fungibility appear more overt in Battabox than in Mark Angel. The rhetoric in Mark Angel appears more subdued in the inertness and ownership form but explicit in reduction to body and denial of subjectivity. Comparatively, the performances of Battabox are replete with the supposed man-woman superior-inferior ideologies, which are anchored on pedagogies of the oppressed, much more so, than what is contained in the performances of Mark Angel. Overall, all the performances give express definition to the different forms of objectification categorized by Nussbaum and Langton. The female can, through their bodies live out their own oppression and objectification, which are institutionalised by a patriarchal, capitalist culture that profits from women's subordination. Women can demonstrate their strength, uniqueness, and inventiveness through their bodies. They can use the transitional and creative nature of reproduction to transform the bodies and their selves. But to achieve the aforementioned, women must continue to critique and challenge practices and ideologies that demean them and rob them of agency. The diversity of the female form and beauty of all women must be appreciated. Women should continually be celebrated and the attention focused only on how women look should be challenged. Women should celebrate the power to give birth and link it to respect for the female sexuality.
dismembered, fragmented and objectified. The diversified forms of female objectification in the performances range from women's sexual roles, women's 'supposed' materialistic nature, 'acceptable' body size for a woman, the woman as a 'commodity', the dependent nature of women and so on. These portrayals, consciously and unconsciously create a definition assumed for the woman and this imposed definition is more of a reflection of what the objectified woman is expected to be. The performances analysed in this paper expose the struggles women often face in a society that institutionalizes competition in every aspect of women's life which at the same time denies women the ability to compete and still be feminine. Analytically, Battabox and Mark Angel performances illustrate the different forms of objectification identified by Nussbaum and Langton. The elements of instrumentality, denial of autonomy and subjectivity plus violability, ownership and fungibility appear more overt in Battabox than in Mark Angel. The rhetoric in Mark Angel appears more subdued in the inertness and ownership form but explicit in reduction to body and denial of subjectivity. Comparatively, the performances of Battabox are replete with the supposed man-woman superior-inferior ideologies, which are anchored on pedagogies of the oppressed, much more so, than what is contained in the performances of Mark Angel. Overall, all the performances give express definition to the different forms of objectification categorized by Nussbaum and Langton. The female can, through their bodies live out their own oppression and objectification, which are institutionalised by a patriarchal, capitalist culture that profits from women's subordination. Women can demonstrate their strength, uniqueness, and inventiveness through their bodies. They can use the transitional and creative nature of reproduction to transform the bodies and their selves. But to achieve the aforementioned, women must continue to critique and challenge practices and ideologies that demean them and rob them of agency. The diversity of the female form and beauty of all women must be appreciated. Women should continually be celebrated and the attention focused only on how women look should be challenged. Women should celebrate the power to give birth and link it to respect for the female sexuality.
References
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Blau, H. (2025). To all Appearances: Ideology and Performance. Routledge.
Bruch, H. ( 2012). Eating Disorder: Obesity, Anorexia Nervosa and the Person within. Basic Books.
Channels Television. (2018). Google's Free WIFI goes Live in Parts of Lagos. Available at: www.channelstv.com/2018/07/26/googles-free-wifi-goes-live-in-parts-of-lagos/
Counihan, C. M. (2018). The Anthropology of Food and Body: Gender, Meaning and Power.
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Dixon, S. (2007). Digital Performance: A History of New Media in Theatre, Dance, Performance Art, Installation. The MIT Press.
Ekpe, B. N., & Okoronkwor, N. T. (2024). Digital Performances and Sexual Objectification: Rethinking Mr. Macaroni’s Concept of Entertainment. Advanced Journal of Theatre and Film Studies (AJTFS), 2(1), 29-38.
Ekpe, B. N., & Thompson, E. E. (2020). Women and the Niger Delta Crises: Ahmed Yerima's Social Vision in Little Drops. International Review of Humanities and Scientific Research, 5(1), 97-105.
Ekpe, B. N., & Wekpe, I. M. (2023). Interactivity and Ecomedia in the Digital Age: A Comparative Study of Black November and Niger Delta Commando. Interactive Film and Media Journal, 3(1), 126-131. https://doi.org/10.32920/ifmj.v3i1.1696
Eze, N. O. (2014). A Comparative Study of Selected Plays of Wole Soyinka and Ola Rotimi.
PhD Thesis, University of Nigeria, Nigeria.
Fidler, R. (1997). Mediamorphosis: Understanding New Media. Pine Forge Press, 1997. Fredrickson, B. L. & Roberts, T. A. (1997). Objectification Theory: Toward Understanding
Women's Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206.
Heidegger, M. (1977). The Question Concerning Technology and other Essays. Harper and Row.
Langton, R. H. (2009). Sexual Solipsism: Philosophical Essays on Pornography and Objectification. Oxford University Press.
Lorde, A. (2023). Sister Outsider. The Crossing Press.
McLuhan, M. (2004). Understanding Media: The Extensions of Man. The MIT Press.
Nussbaum, M. C. (1995). Objectification. Philosophy and Public Affairs. 24(4), 249-291. Orbach, S. ( 2019). Fat is a Feminist Issue: The Anti-diet Guide to Permanent Weight Loss.
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Smith, M. R. & Marx, L. (1994). Does Technology Drive History?: The Dilemma of Technological Determinism. MIT Press.
Statista. (2024). Total Number of Internet Users in Nigeria from 201 7 to 2024 (in Millions). Available at: https://www.statista.com/statistics/1176087/number-of-internet-users-nigeria/
The Guardian (2018) Facebook Launch NG_hub in Lagos - Its First hub space in Africa. Available at: www.guardian.ng/technology/facebook -launch-ng-hub-in-lagod-its-first-hub-space-in-africa>
ThisDay. (2018). FG Launches National Campaign against Fake News. A vailable at: www.thisdaylive.com/index.php/2018/07/11/fg-launches-national-campaign-against-fake-news/>
Blau, H. (2025). To all Appearances: Ideology and Performance. Routledge.
Bruch, H. ( 2012). Eating Disorder: Obesity, Anorexia Nervosa and the Person within. Basic Books.
Channels Television. (2018). Google's Free WIFI goes Live in Parts of Lagos. Available at: www.channelstv.com/2018/07/26/googles-free-wifi-goes-live-in-parts-of-lagos/
Counihan, C. M. (2018). The Anthropology of Food and Body: Gender, Meaning and Power.
Routledge.
DigitXplus. (2024). Digital Facts Book. DigitXplus.
Dixon, S. (2007). Digital Performance: A History of New Media in Theatre, Dance, Performance Art, Installation. The MIT Press.
Ekpe, B. N., & Okoronkwor, N. T. (2024). Digital Performances and Sexual Objectification: Rethinking Mr. Macaroni’s Concept of Entertainment. Advanced Journal of Theatre and Film Studies (AJTFS), 2(1), 29-38.
Ekpe, B. N., & Thompson, E. E. (2020). Women and the Niger Delta Crises: Ahmed Yerima's Social Vision in Little Drops. International Review of Humanities and Scientific Research, 5(1), 97-105.
Ekpe, B. N., & Wekpe, I. M. (2023). Interactivity and Ecomedia in the Digital Age: A Comparative Study of Black November and Niger Delta Commando. Interactive Film and Media Journal, 3(1), 126-131. https://doi.org/10.32920/ifmj.v3i1.1696
Eze, N. O. (2014). A Comparative Study of Selected Plays of Wole Soyinka and Ola Rotimi.
PhD Thesis, University of Nigeria, Nigeria.
Fidler, R. (1997). Mediamorphosis: Understanding New Media. Pine Forge Press, 1997. Fredrickson, B. L. & Roberts, T. A. (1997). Objectification Theory: Toward Understanding
Women's Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206.
Heidegger, M. (1977). The Question Concerning Technology and other Essays. Harper and Row.
Langton, R. H. (2009). Sexual Solipsism: Philosophical Essays on Pornography and Objectification. Oxford University Press.
Lorde, A. (2023). Sister Outsider. The Crossing Press.
McLuhan, M. (2004). Understanding Media: The Extensions of Man. The MIT Press.
Nussbaum, M. C. (1995). Objectification. Philosophy and Public Affairs. 24(4), 249-291. Orbach, S. ( 2019). Fat is a Feminist Issue: The Anti-diet Guide to Permanent Weight Loss.
Berkeley Books.
Smith, M. R. & Marx, L. (1994). Does Technology Drive History?: The Dilemma of Technological Determinism. MIT Press.
Statista. (2024). Total Number of Internet Users in Nigeria from 201 7 to 2024 (in Millions). Available at: https://www.statista.com/statistics/1176087/number-of-internet-users-nigeria/
The Guardian (2018) Facebook Launch NG_hub in Lagos - Its First hub space in Africa. Available at: www.guardian.ng/technology/facebook -launch-ng-hub-in-lagod-its-first-hub-space-in-africa>
ThisDay. (2018). FG Launches National Campaign against Fake News. A vailable at: www.thisdaylive.com/index.php/2018/07/11/fg-launches-national-campaign-against-fake-news/>