Employing the media representation theory, this article uses the historical-analytic, key informant interview (KII) and observation methods to interrogate the issue of politics of succession in Nigeria as portrayed in Saworoide (1999, dir. Tunde Kelani) and Ikoka (2004, dir. Peddie Okao). Apart from highlighting the kind of challenges which politics evokes in the country and the possible ways of remediating them in a contemporary context, the study argues that Nollywood filmmakers have good reasons for shying away from politics, as interesting as it may be; it creates discomfort for governments as well as for the filmmakers. The former on account of their allergy to the truth and the latter on the likelihood of their works being confiscated, banned or even risk to life. The conclusion reached is that filmmakers who engage politics in their creative works deserve encouragement because growing societies such as Nigeria, are in dire need of spokesmen and women, who as change agents, can engender positive and developmental agendas in their ecosystems.

中文翻译：

---

诺莱坞电影、Saworoide 和 Ikoka 的继承政治

本文运用媒体表征理论，使用历史分析、关键知情人访谈 (KII) 和观察方法来询问 Saworoide (1999, dir. Tunde Kelani) 和 Ikoka (2004, dir. Peddie Okao）。除了强调政治在该国引发的挑战类型以及在当代背景下补救这些挑战的可能方法外，该研究还认为，诺莱坞电影制片人有充分的理由回避政治，尽管它可能很有趣；它让政府和电影制作人感到不安。前者是因为他们对真相过敏，后者是因为他们的作品可能被没收、禁止甚至危及生命。