There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video-films in Nigeria, Ghana, and indeed across the African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminist counterparts, masculinity always (re)emerges in new forms or topoi to dominate femininity. Consequently, there seems to be a paradigm shift on the (mis)representation of women that reinforces Laura Mulvey’s sexual voyeuristic objectification of the feminine gender as reflected in near-nude costumes as well as sexually larded scenes that are common sights in African films, particularly those from Ghana. Employing the historical-analytic and observation methods, this article examines three selected films:  The Maid I Hired (2010), Why Did I Get Married? (2007) and To Love a Prince (2014) by Frank Rajah Arase (FRA), an African filmmaker of Benin (Edo) extraction who largely operates in the Diaspora, to foreground and highlight the voyeuristic imprints in Ghanaian films (Ghallywood), which tend to demean the feminine gender in the context of African culture that hegemonizes the male folk.

中文翻译：

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弗兰克·拉贾·阿拉塞精选电影中的女性代表：加纳电影文化中大男子主义倾向的证据

自从尼日利亚、加纳乃至整个非洲大陆（重新）发明视频电影以来，大多数叙事中的女性形象歪曲一直引起共鸣。尽管（假定的）沙文主义电影制片人和他们的女权主义同行之间存在二元斗争，但男性气质总是（重新）以新的形式或拓扑出现以支配女性气质。因此，女性的（错误）表现似乎发生了范式转变，强化了劳拉·穆尔维（Laura Mulvey）对女性性别的性窥淫客观化，这反映在近乎裸体的服装以及非洲电影中常见的色情场景中，特别是来自加纳的那些。本文采用历史分析和观察方法，考察了三部精选电影：《我雇用的女仆》（2010）、我为什么结婚？（2007 年）和弗兰克·拉贾·阿拉斯（FRA）的《爱一个王子》（2014 年），弗兰克·拉贾·阿拉塞（FRA）是贝宁（江户）血统的非洲电影制片人，主要在侨民中经营，突出和突出加纳电影（Ghallywood）中的偷窥印记，其中在以男性为主导的非洲文化背景下，倾向于贬低女性性别。