Perception and Acceptance of Nollywood as Nigeria’s Cultural Ambassador among University Students

Nollywood is considered the site of popular culture and harbinger of cultural renaissance, especially amongst young adults confronted daily with the remote acculturation that foreign films offer. While many stakeholders believe that Nollywood, the second most prolific film industry, dispenses cultural knowledge and memory across borders, Nigerian tertiary students are suspected of preferring Western flicks or vacillating between foreign and local films. Consequently, this study was conceived to ascertain if Nigerian students perceive Nollywood as a cultural industry and Nigeria’s cultural ambassador. A 5-point Likert Scale of a 13-item questionnaire was administered to 283 Lagos State University of Science and Technology mass communication students. The descriptive, t-test, and ANOVA findings revealed that the students in this study consider Nollywood a cultural industry. Still, their perception showed that Nollywood’s performance is weak regarding cultural representations. Therefore, the study recommends that Nollywood films portray endogenous and authentic cultural values. However, the research suggested a further study involving more students across Nigeria, with mixed methods and advanced analyses.


I. INTRODUCTION
Films are regarded as cultural and symbolic forms and can be used to discover and reveal vital characteristics of social life.Chile and Targema (2018) believe that films are forms of entertainment media that package and present to society the realities of human existence where the various characters act out the issues at stake for the audience.Media scholars agree that how the film portrays issues and phenomena affects the overall perception and acceptance or rejection of such matters in the long run (Inuwa, 2019, p. 302).Unlike other forms of mass media like television, radio, print, and others with specified audiences, the film has a mass appeal with a diverse audience.Film effects cut across language barriers and physical distances, and its contents are relatable even when a particular audience does not understand the language of expression of a film.For example, Hollywood, Bollywood, and Chinese movies have been screened in rural Nigeria since the 1970s, through decades without subtitling.However, the indigenous people of Nigeria can relate, understand, act, and sing along with the foreign depictions.
Advanced English with diverse accents used as the language of communication in Hollywood movies did not deter rural and illiterate Nigerian audiences in remote places from enjoying them.Consequent to the barrierless posture of film in the language of expression, when Nollywood movies began to gain global attention, people worldwide commended Nollywood films despite the cultural and language differences.
Aside from these advantages of film as a medium with global appeal, it affords viewers an accessible mode of viewing.In terms of viewing and distribution methods, there are numerous ways to view and enjoy films, especially with media convergence and modern technologies.Multiple channels of accessibility include cinema (community, cottage, and multiplex screens), terrestrial television, online streaming, cable/pay TV, video on demand (VOD), DVD, VCD, Blu-ray, mobile cinema, in-flight, mobile phone, etc.All these make viewing films flexible for spectators in urban and rural areas.Social stratification poses little or no viewing challenges to film audiences worldwide-their interpretations may vary, but access is the same.Literacy and academic background do not stop viewers from enjoying films or the context of the viewing experience (Curtis, 2016).More than any other means of mass communication, a film can promote positive social transformation and build a new relationship between culture and national development.As an aspect of culture, films are both an art and an industry (Nigerian Film Corporation, 2000).
Meanwhile, Onuzulike (2014) noted that Nollywood films are modelled after Nigerian cultural practices and focus on community life, using African idioms, proverbs, costumes, artefacts, cultural displays, and imageries.Edum and Obire (2013) assert that aside from the entertainment and economic potential, the Nollywood film purges the audience, prepares them for change, and enlightens Nigerians towards adopting a favourable image.To this viewpoint, cultural stakeholders have tagged Nollywood as a cultural industry; many see the Nigerian film industry as a cultural ambassador projecting the nation's image to the outside world.
Meanwhile, no empirical studies known to the researcher ascertain whether Nigerian youths/ students, who account for 63% of the Nigerian population according to the United Nations Population Fund (Ebuka Abonyi et al., 2022), consider Nollywood a cultural industry.Marcus (2005) suggests that students have access to and view considerable amounts of mass media, on average watching more than three hours of television and videos daily (Kunkel et al., 2005).Besides sleeping, students spend more time watching television than doing anything else.
Although the entertainment tastes of students at different levels may differ in genre and mode, the undercurrent commonness of cultivation and social learning remains.According to Su (2021), younger generations watch films not only for amusement, escape, and aesthetic enjoyment but also for an exceptional global imagination that actively represents their society, culture, national identity, and value system.The cinematic experience involves negotiating several cultures and value systems and imagining a different modernity and a perfect way of living.
Interpolating history in the study of film reception, Marcus (2005) claims that students are exposed to broad representations of history through film, yet only a limited representation of perspectives.Notwithstanding its tendency towards fiction, a film can be helpful, provided we consider the contrasts between it and professional prose.In this way, we can seriously consider film as a source of insightful and even creative historical vision.Marcus continued by saying that many of the films that students watch have historical undertones or are historically based and frequently serve as reliable sources of historical information.He further explained that films could provide students with opportunities to improve their historical comprehension through, among other things, the interpretation of evidence, heightened historical empathy, exploration of historical perspective, and making connections between the past and the present and one's own life.In addition, using films as historical evidence, callbacks, and testimonies can help students examine and interpret materials.Martinez (2004), in his review of students' reaction to Asch's films on Yanomamo and other empirical studies, contends that in the media-saturated era of escalating cultural hybridisation and commodification, the demands for more democratic and dialogical representations of alterity are more vital than ever; thereby making a compelling case for students' reception of and cultural stereotyping in films.According to this perspective, the film must be viewed as a historical artefact with possibilities and constraints and a cultural legacy with valuable lessons.Martinez (2004) argues that the obligations of modern filmmakers have grown much more complicated.Moreover, now, such expectations include engaging in negotiations with the subjects of their films on matters of economics, law, politics, and ethics that were ignored in his early pioneering work.Thus, this viewpoint can assist students in overcoming their fantasies and concerns related to diversity, as well as help to reduce communication issues that might occur when texts and viewers' expectations are out of sync.
In gauging the perception and acceptance of Nollywood as Nigeria's cultural ambassador amongst University students, this study's objectives are as follows: 1) To determine if students in the studied institution are proud of Nigeria as represented in Nollywood films, 2) To assess whether the students understand Nollywood as a cultural industry promoting Nigerian tradition and cultural identity, 3) To explore to what extent the students learn and accept the cultural values from Nollywood films and 4) To analyse the differences between the students' perceptions based on Gender, Age, and Academic Level.

A. Nollywood as an Industry: An Empirical Review
In his study, Ekwuazi (2008b) set out to establish Nollywood as an industry by examining the history and economics of the Nigerian movie industry.With a diachronic approach, the study concluded that Nollywood's evolutionary and creative process responded to economic factors.In another study, Ekwuazi (2008a)  illiteracy are numerous causes of the country's lack of purposeful and committed leadership.Therefore, they recommended producing films that promote the correct values in leadership.Again, Ekwuazi (2011) conducted a study to examine the audience's place as the determinant of decision-making in Nollywood movies.He argued that the consumers of Nollywood films must be critically considered before any production because the audience size attracts advertisers and box office success.Therefore, he recommends a precise and empirical way of studying the Nollywood audience.Worried about Nollywood movies' influence on Nigerian youths, Akpughe and Adeseye (2014) aimed to determine whether Nigerian youths perceive Nollywood in the right light.Mass communication students of the University of Benin were selected and shown a Nollywood movie titled "Gallant Babe" in a theatre hall and subsequently served questionnaires.The result of the study reflected a mixture of positive and negative influences on the study population as most respondents agreed that Nollywood movies influence the sexual behavioural pattern of the youths in Nigeria.Therefore, the scholars recommend that Nigerian film regulatory bodies ensure strict compliance with the rating and classification of Nollywood films.Furthermore, parents should engage their children in discussions that disabuse their mindset from thoughts of watching movies with negative values.
In summary, Ezepue (2020) concludes that the professionalisation of practice within the Nigerian film industry justified the metaphorical gentrification of Nollywood, transforming it from a once-not-soappealing sector into a highly sought-after by all social classes.

B. Nollywood as Nigeria's Cultural Industry
Scholars have established that media platforms are industries specialising in producing and distributing cultural commodities.The mass media serves as the dominant conveyor belt for repackaging and distributing messages of cultural, social, and economic importance to the masses (Baran & Davis, 2012, p. 410).In a more specific order, film, of all mass communication media, has a universal appeal and impact because it overcomes language and cultural barriers through its evocative power of visual images, music, sound effects, and dramatisation.The film is primarily concerned with the promotion and presentation of the culture of the people, depicting their historic and peculiar activities.Oguntoye (2021, p. 351) states that film lets viewers know the ideologies behind every action or behaviour in a given cultural group.Haynes (2008) believes that the emergence of the Nigerian video film industry, called Nollywood, is a cultural phenomenon, and Nigerian movies represent Nigerian culture.Nollywood produces films in Yoruba, Hausa, Igbo, pidgin, and other Nigerian languages and tells the life stories in rural and urban Nigeria.Akinkoye and Odulami (2019, p. 307) stated that though films capture real life, they are industrial products, noting that film offers a powerful form of persuasion and education.They believe a film is a powerful tool for legitimising values, beliefs, and social behaviour as they construct a social reality that impacts people of all social strata.Amannah and Orikolia (2019) posit that Nollywood has enabled the global audience to perceive the Nigerian people's socio-cultural, socio-political, religious, and socioeconomic makeup.As a result, it has become a window through which the international audience views Nigerian life as told by Nigerians.
By mirroring the traditional Nigerian system and reconstructing the socioeconomic realities of the people, Nollywood showcases the struggles of people in the country.Centred on themes of love, adventure, betrayal of trust, societal ills, and consequences, local and international audiences can glimpse the day-today activities in Nigeria.Above all, Nollywood has the potential to project positive indigenous cultural values and identities and foster mutual understanding of different ethnic groups (Amannah & Orikolia, 2019, p. 309).However, based on other literature on Nollywood, more studies are required to find out what Nigerian students/youths think of Nollywood as the cultural ambassador of Nigeria.

C. Semiotics Analysis Theory
The theory of semiotics may appear controversial regarding its origin, as different scholars attribute its formulation to random scholars.For example, Asemah et al. (2017, p. 101) attributed the study of semiotics to Swiss linguist Ferdinand de Saussure.Oguntoye (2021, p. 352) argued that Charles Sanders Peirce founded semiotics analysis theory in 1958.However, this study focuses on relating the theory to Nollywood content.Regardless of the various scholarly attempts to name those who propounded semiotic analysis, one thing familiar with all accounts is its meaning and applications.Semiotics is the theory of producing and interpreting meaning.The core principle of semiotics analysis is interpreting and examining the essence of things concerning reality or context (Oguntoye, 2021).From a mass communication point of view, semiotics is the study of media images and how they serve various communication methods to a diverse audience.As explained by Asemah et al. (2017, p. 102), scholars can apply semiotics theory in several areas of communication, like cultural imperialism, cross-cultural communication, inter-ethnic communication, mass communication, and other similar fields.Oguntoye (2021, p. 353) corroborated this submission that Nollywood films have implied meanings.Apart from the usual stories, the sub-meanings Nollywood films serve its viewers can safely pass as "semiotic democracy," a term depicting an individual's freedom to make their meaning from media content (Baran & Davis, 2012, p. 44).Since its inception in the late 1980s, Nollywood has become a frontline cultural industry, projecting Nigerian culture to the outside world using native languages, traditional heritages, and cultural elements through films.Nollywood evokes the mental picture of Nigerian people and their ways of life.Nollywood films serve as cultural ambassadors for various Nigerian social views.Because of this, their visual representations are cultural constructions whose meanings can only be understood in the context of culture (Ajiwe & Eze, 2020).Okwuowulu (2015) argues that narrative strategies and semiotics are deeply entwined in discussing how viewers interact with film texts and the director's representations.Unfortunately, Nollywood films have not effectively communicated through dramatic and technical semiotic forms.As a result, Nollywood films tend to have a stereotyped and archetypal interpretation.Yahaya and Abubakar (2018) further explain Okwuowulu's submission.They claim that the interpretations of specific film shots depend on paradigmatic and syntagmatic analyses.A syntagmatic analysis examines the connections between each film shot, scene, or sequence.The paradigm, conversely, is a collection of related indicators that are all members of the same defining category but differ significantly.In sum, the arrangement of signs by chain is known as syntagm.In comparison, the organisation of signs by choice is known as the paradigm.Baran and Davis (2012, p. 372) posit that symbolic interactionism is a social service theory that addresses how communication influences cultural structures and our daily experiences.However, the idea was unpopular among mass media and sociologist scholars not until 1969, when Herbert Blumer named it symbolic interactionism (Asemah et al., 2017, p. 148;Baran & Davis, 2012, p. 393).

D. Symbolic Interactionism
According to the proponents, the theory's thrust posits that people give meaning to symbols, and those meanings come to control the people.In other words, people live in a world where the purpose of objects, events, and behaviour comes from the interpretation people give them.These interpretations vary from one group to another.For example, Hollywood, the American movie industry, was a worldwide symbol of the film industry.Nevertheless, movie industries like Bollywood and Nollywood broke the Hollywood monopoly to mean Indian and Nigerian Film industries, respectively.
Today, Nigerians see Nollywood as their film industry and treat it with great affinity because Nollywood reinforces an image of the indigenous or organic film industry to Nigerians.In contrast, foreigners see Nollywood as Nigeria's cultural industry because they learn about Nigerian culture through Nollywood products.According to Onyenankeya et al. (2017), participants can duplicate or imitate the behaviours of the actors and reproduce those behaviours when they frequently watch a particular type of film over time.They continued by saying that it is evident that Nollywood films have a significant influence on audiences.The impact of glocalised Nollywood films on viewers may be seen in the rise of foreigners dressing in Nigerian fashions and consuming Nigerian cuisines.Based on the researchers' findings, it is safe to say that Nollywood movies, despite their flaws, have the potential to popularise Nigerians and their culture.They also serve as a formidable vehicle for spreading Nigerian heritage among different cultural groups.
Therefore, this study attempts to ascertain whether Nigerian youths perceive Nollywood as a cultural industry and their country's cultural ambassador.

III. METHODOLOGY
The study site was the Department of Mass Communication, Lagos State University of Science and Technology, Nigeria.The total number of full-time students in this department was 600, based on an unpublished list obtained by the researcher.This study employed quantitative methods, and data was collected through a Google Form distributed to 283 students.In line with the research objectives and literature review, the survey used a 5-point Likert Scale consisting of 1-Strongly Disagree, 2-Disagree, 3-Undecided, 4-Agree, and 5-Strongly Agree.The questionnaire contained 13 items and questions in two sections, "A" and "B."The items in section "A" included the demographic variables for students to tick the applicable options.
Section "B" contained how the students perceived Nollywood as Nigeria's cultural ambassador.In addition, the survey instrument was validated by four psychometricians and Nollywood experts at the University of Lagos (UNILAG) and Kwara State University, Nigeria.The reliability of the questionnaire was also checked through Cronbach's Alpha, with an overall coefficient of 0.83, thus showing a high coefficient, as recommended by Taber (2018).
The analyses used in this study were descriptive analysis, t-test, and ANOVA to reveal the students' general perception and acceptance of Nollywood as Nigeria's cultural ambassador based on their gender, age, and academic level.This analysis also helped forecast the youth's perception of the role of Nollywood in Nigerian society.It provided basic information about critical aspects that need to be focused on to achieve the full potential of the Nigerian film industry.I, among these 283 students, 50.5% (N = 143) of the respondents were male, and 49.5% (N = 140) were female.The majority of respondents (36.4%, N = 103) were aged 26-30; 33.9% (n = 96) were aged 22-25, and 29.7% (N = 84) were aged 16-21.The numbers of the respondents based on their academic levels are 20.5% (N = 58) for 100 Level (ND1), 23.3% (N = 66) for 200 level ND2, 27.2% (N = 77) for 300 level (HND1), and 29% (N = 82) 400 level (HND2).The high percentage of male students was due to the enrolment data contained in the nominal roll and willingness to participate in the survey.

B. Perception of Nollywood as Nigeria's Cultural Ambassador
The researcher used descriptive analysis to check the frequencies of responses, Means, and Standard Deviations.The descriptive analysis aimed to study the respondents' general perception of Nollywood as Nigeria's Cultural Ambassador.While standard deviations are neither "good" nor "bad because they are measures of how spread-out data is, the results in Table II show that most of the responses toward the items fall under Agree (3.001-4.00) in the 5-point Likert Scale.Based on Table II, the highest-ranking mean score is 3.64 under "Nollywood is promoting Nigeria culture to the world," followed by 3.57 under "I enjoy Nollywood films because they depict Nigeria culture" and "I have come to realise that Nollywood is Nigeria's cultural ambassador," 3.52 under "By watching Nollywood movies, I have learned different areas of Nigerian culture," 3.43 under "There are some Nigerian cultural elements I learnt from Nollywood films," 3.35 under "I am particularly proud of how Nollywood promotes these aspects of Nigerian culture," and 3.29 under "I am proud of how Nollywood films depict Nigerian culture."The mean scores of these items fall under the Agree (3.001-4.00)Scale of Likert.
Also, the lowest mean scores are 2.56 under "Watching Nollywood movies made important cultural aspects of Nigeria clearer," followed by 2.74 under "I learnt about Nigeria culture from watching Nollywood movies," and 2.99 under "Nollywood films truly capture Nigerian culture."The mean scores of these items fall under the Do not know/Undecided (2.001-3.00)Likert response level.

C. Perception based on Students' Gender
A t-test was used to compare the mean scores of this study's male and female respondents.The t-test aims to check for any differences between the perceptions of male and female students on the acceptance  The Independent Samples Test results in Table IV show that the p-values of the items are insignificant because they are more significant than the generally accepted significance level (0.05).The implication is that the differences between the means of the two groups in gender (males and females) are not statistically significant, thus providing strong evidence that the means of the male and female students are equal.The demographic results show that the number of males is 143, and the number of females is 140.Also, the results in Table IV revealed that the most glaring difference in the responses based on gender is under "Nollywood films truly capture Nigerian culture", as the response of males falls under Agree (mean score 3.03).In contrast, the response of females falls under Do not Know/Undecided (mean score 2.96).Other than that, there are no significant differences between the male and female responses, as they all agreed and were Undecided on the same items; thus, gender has no significant effect on the perception of the respondents on the acceptance of Nollywood as Nigeria's Cultural Ambassador.

D. Perception Based on Students' Ages
A one-way ANOVA shows no statistically significant differences between group means of the items in  The One-way ANOVA results mean that age has no significant effect on the perception of the students on the acceptance of Nollywood as Nigeria's Cultural Ambassador.These results align with Table VI of the Independent Samples Test results, which revealed that gender does not significantly affect the students' perception.

E. Perception Based on Students' Academic Level
In the comparison of the mean scores of the responses based on the Student's Academic level, a Oneway ANOVA shows in Table VI below that there was a statistically significant difference between groups on the last item (I have come to realise that Nollywood is Nigeria's cultural ambassador) as determined by one-way ANOVA (F(3.111)= 6.513, p = 0.046).
The results above in Table VI mean that, while Academic Level does not have a significant effect on accepting Nollywood as Nigeria's cultural ambassador in general, it still does have a substantial effect on students' perception of the last item, which is "I have come to realise that Nollywood is Nigeria's cultural ambassador".Based on the findings, the research's discussion, implication, and conclusion are stated in the next sections.V. DISCUSSION This study explored the perception and acceptance of Nollywood as Nigeria's cultural ambassador among students.While many studies have examined diverse areas of Nollywood, this study has added vital knowledge to the earlier studies, with empirical data on how the students perceive Nollywood as a cultural industry and accept it as the country's cultural ambassador.The findings supported the general perception that most Nigerian youths see Nollywood as Nigeria's cultural ambassador.
First, the descriptive analysis indicates that Nigerian students are proud of how Nollywood reinforces Nigeria's culture through films.The findings align with the authentic Nigerian stories in many Nollywood movies and the strides Nollywood has made in recent years through partnerships with foreign investors and distribution platforms.Nollywood is also among the most crucial exports from Nigeria.Nigerian students easily mirror themselves in the Nollywood products as modelled after Nigerian cultural practices and focus on communal life, using African idioms, proverbs, folklore, anecdotes, costumes, artefacts, cultural displays, and the imagery of Africa (Onuzulike, 2014).Nigerian students, both at home and in the diaspora, are easily connected with their roots, cultural memories, and nostalgic experiences that Nollywood films provide.
The findings also revealed that, with the penetration of local films across borders, Nigerian students see Nollywood as promoting Nigerian culture to the world.This view aligns with global commendations and attention given to Nollywood films in the last thirty years.Furthermore, international production collaborations with Nollywood filmmakers, the incursion of distribution platforms, and the democratisation of internet technology have made Nollywood films more appealing and acceptable to students who, until now, preferred foreign flicks to Nigerian films.Therefore, the acceptance of Nollywood films as cultural ambassadors can be understood.
These are all consistent with the studies of Tsaaior (2018), Oti (2019), and Abodunrin and Akinola (2019).The scholars submit that Nollywood is a cultural output that celebrates Nigeria's diverse cultural history.Nollywood is consistently and fascinatingly remapping the culture and entertainment landscape in Nigeria, other African nations, and beyond (Tsaaior, 2018).Meanwhile, through early Nollywood films, Oti (2019) confirmed the youth as representatives of social formation in a collection of Paul Ugor's series of debates.Oti said that in recent years, Nigerian youth have been at the core of developing a cultural geography of counter-institutional social responses that do not constantly interact with official constraints, norms, or state language.According to Abodunrin and Akinola (2019), a people's culture, identity, customs, and beliefs are mainly portrayed through the substance and focus of their performance styles, among other identity-forming accoutrements.Since the introduction of Nollywood, Africa's culture and identity have been increasingly popular and prominent.
However, this research also showed that the performance of Nollywood films in terms of the culture they depict is deficient.While the students agreed that Nollywood is a cultural ambassador, they could not decide whether "Watching Nollywood movies made important cultural aspects of Nigeria clearer" or whether they "learn about Nigeria culture from watching Nollywood movies".They also could not decide if "Nollywood films truly capture Nigeria culture".Nollywood films impact positively and negatively on the youth.Hence, it is of topmost importance for Nollywood to focus more on cultural aspects that aid Nigerian core values, national identity, cultural memory, nation-building, and messages with economic importance, good virtues, and Nigerian history.Recent studies from Repinecz (2018), Badiru (2019), andChukwu-Okoronkwo et al. (2020) have also emphasised how youths have been learning and accepting habits like rituals, cultural elements like marriage affairs, religious affairs, historical anecdotes, and others from Nollywood movies.
Finally, the findings showed that there is no significant difference between the perception of the respondents on acceptance of Nollywood as a cultural ambassador based on Gender, Age, and Academic level because of the similar social stratifications of the sampled students.The University (formerly Lagos State Polytechnic) is government-owned and parades students of middle-class, average Nigerian parents who share almost the same demographic and psychographic elements.

VI. CONCLUSION
This study shows that film is a critical mass medium in society and supports several works of literature that highlight the numerous essential functions film plays in society.While many scholars and researchers of Nollywood identify Nollywood as Nigeria's cultural industry, this study showed that Nollywood is lagging in this role.This study concludes that more studies should be conducted with a large sample size regarding how Nigerian youths perceive Nollywood movies and what they make of the storylines.Based on the findings of this research, the following are recommended: 1. Nollywood filmmakers should portray Nigerian relevant and helpful cultural values in their productions because the students consciously and unconsciously learn indigenous cultural values from Nollywood films.2. Again, Nollywood filmmakers are ambassadors of the country's cultural values, and the international communities make meaning of the country based on what they see through Nollywood films.Hence, they should infuse indigenous values into their narratives and choose the cultural principles they want to show the world.3. Nollywood filmmakers must remember that they are telling the country's story to the world and that whatever they portray in their production will determine what outsiders think of Nigeria.4. Nollywood filmmakers should also strive to include thematic elements like heroism, nationalism, and cultural relativity in their storylines to inspire Nigerian students and enlighten them on the importance of these qualities.5. Nollywood stakeholders must understand popular art as a 'soft power' capable of repositioning the country and saving Nigerian immigrants from remote acculturation.It is suggested that future studies on students' perception of Nollywood films as Nigeria's cultural vehicle should cover more universities, increase the sample size and expand the scope.The mixed method could also be deployed to see the students' perceptions from broader dimensions.It will also be essential to situate different Nigerian cultural values exhibited in Nollywood films according to geopolitical zones, especially the peculiarities of Nigeria's Northern film industry, otherwise known as Kannywood.
Edum and Obire (2013)e if Nollywood promotes development communication.The survey deployed a 22-item questionnaire by sampling 103 students at the University of Ibadan.The study found that Nollywood was not promoting development programmes.Edum and Obire (2013)explored the role of Nollywood in reshaping the leadership challenges in Nigeria with a particular focus on selected films.They observed that poverty, lack of awareness, greed, and www.ej-media.org www.ej-media.org DOI: http://dx.doi.org/10.24018/ejmedia.2023.2.4.3 Vol 2 | Issue 4 | September 2023 12 www.ej-media.orgDemographic Data This study's respondents comprised 283 full-time students at the Department of Mass Communication, College of Applied Social Sciences, Lagos State University of Science and Technology.As presented in Table DOI: http://dx.doi.org/10.24018/ejmedia.2023.2.4.3 Vol 2 | Issue 4 | September 2023 13 IV.FINDINGS A.

TABLE II
www.ej-media.orgCulturalAmbassador.TableIIIprovides the mean and standard deviation values found for each item in different gender groups.

TABLE III :
DESCRIPTIVE STATISTICS FOR EACH ITEM BY GENDER

TABLE V :
ONE-WAY ANOVA RESULTS BASED ON STUDENTS' AGE