ABSTRACT
This Chapter focuses on the reception of the selected cinematic narratives in the filmed lands. Considering national and regional politics, it examines how these films are used in the development of media and tourism policies by the filmed nations. Singling out Neill Blomkamp's District 9, it is interrogated under what conditions cinematic satirising of a nation's dark pasts is acceptable'. Cinematic technics were attacked with technological means after the release of the film when many bloggers reiterated that it reinforces negative stereotyping of Nigerian culture, and formed a Humorous tonality, dark heart Facebook group, District 9 Hates Nigerians'. Delving into genealogies of African aesthetic traditions, the chapter seeks to whether District 9's representations of African ethnic characters were racist or induced regional African reactions due to cultural miscommunication informed by colonial histories. It proceeds to compare Blomkamp's take on Nigerian cannibalism to the other films' directors and scriptwriters take on zombie plagues.
