Ogbuke, M. U. (2026). Using Cinema to Change Nigeria’s Environmental Policies through the Polluter Pays Principle in Environmental Assessment. International Journal of Research, 13(3), 30–40. https://doi.org/10.26643/ijr/3

Ogbuke, Martha Uchenna

Department of Sociology and Anthropology,

Faculty of Social Sciences and Humanities, Enugu State University of Science and Technology, Agbani

Email: uche.ogbuke@esut.edu.ng

ORCID: https://orcid.org/0009-0006-9055-565X

ABSTRACT

Nigeria’s environmental crisis demands quick policy reforms since it is caused by gas flaring, oil spills, and loose application of the polluter pays principle (PPP). This article explores how Cinema, Nigeria’s influential film sector, may magnify public awareness and motivate government to execute the PPP efficiently. Cinema underutilises environmental campaigning despite its global reach, frequently oversimplifying systemic issues or avoiding criticisms of institutional and corporate accountability. This study identifies limitations in PPP enforcement and opportunities for storytelling to reframe pollution as a solvable injustice. Corporate influence, weak institutions, and cultural narratives normalising environmental degradation further inhibit development. These problems are made worse by international streaming services, which prioritise entertainment over action, weakening crucial messages. The article concludes that Nigerians and people around the world can be motivated to seek a cleaner, more equitable future by using cinema’s storytelling power.

KEYWORDS: Cinema, Environmental policy, Policy framework, Environmental degradation

INTRODUCTION

There is an immediate need to address the environmental conditions in various sections of Nigeria. Oil spills have harmed farmlands and water sources. People have trouble breathing due to the toxic pollutants from gas flaring (Tran, 2024). The terrain is becoming desolate and susceptible to erosion due to the startling rate at which forests are being destroyed. These concerns are not only environmental, they effect people’s lives. Homes are lost by families. Farmers cannot grow crops. Children drink contaminated water. The harm is prevalent, and it continues growing worse. The “polluter pays principle” (PPP) is a solution that has succeeded elsewhere. It states that those who cause pollution should foot the bill for cleanup (Al Kamzari, 2024). This principle is part of international regulations and agreements. But in Nigeria, it remains more of a theory than a reality. Businesses continue to pollute without facing severe consequences. Although laws are in place, they are not well enforced. People suffer while polluters are unpunished.

But there’s hope. Cinema, Nigeria’s burgeoning film industry, might hold the key to change. The Nigerian Patriotriot (2024) claims that the film industry is the second biggest globally. Its films are seen throughout Africa and beyond. The stories usually depict issues that exist in real life, such as injustice, corruption, and poverty. Cinema has a way of connecting with people. It speaks their language, literally and figuratively.

This essay explores how films can help put the polluter pays principle into practice. Telling stories about pollution and its implications, filmmakers can promote awareness. They can illustrate the human cost of environmental catastrophe. And they may pressure leaders to enforce rules that defend the environment. The objective is to convert Cinema’s storytelling power into a weapon for policy change. Nigeria’s environmental predicament is complicated. It involves oil businesses, government agencies, and local communities. However, it is fundamentally about equity. Why should poor farmers bear any of the costs associated with oil spills? Why should children suffer because of gas flaring? The polluter pays principle offers a way to remedy these inequities. And Cinema may play a part in making that happen.
Cinema’s significance cannot be emphasised. Every day, millions of Nigerians watch its films. They are presented on TVs, phones, and in impromptu cinemas. According to Iheka (2013), Cinema creates stories that resonate with regular people. It acknowledges their struggles and honours their resiliency. Social issues like inequality and corruption are already covered in a lot of films. So why not the environment? Think of a movie that shows the impact of an oil spill on a fishing village. As the rivers turn dark, the narrative can revolve on a family losing their source of subsistence. Imagine watching a film on gas flaring, where the smoke causes respiratory issues in children. These tales are true in places like the Niger Delta; they are not made up. However, when presented in a movie, they become effective instruments for transformation.
Cinema has the potential to stimulate conversations. It can make people worry about topics they might otherwise dismiss. Additionally, when people care, they put pressure on lawmakers to take action, laws are upheld, and change is made possible. Environmental deterioration is not solely Nigeria’s problem; it is a worldwide issue. Deforestation contributes to climate change, and pollution kills millions worldwide every year (Leon et al., 2022). Everyone agrees that the polluter pays concept is a just way to deal with these issues. However, execution differs from nation to nation.

The lack of enforcement in Nigeria results from a number of problems. Corruption plays a big impact, and so does the influence of powerful corporations. Local communities frequently lack the resources to fight back because they are left to deal with the consequences alone (Babatunde, 2020). Cinema may help shift the scales by bringing attention to these problems, which will ultimately empower communities. This imbalance needs to be corrected. It can inspire campaigners. It may even shame firms into doing the right thing because stories have power; They alter how we see the world.

CINEMA’S UNREALISED POTENTIAL FOR POLICY ADVOCACY

Cinema’s films are seen across Africa and beyond. They shape how individuals think about issues like corruption, love, and family struggles. But when it comes to environmental challenges, Cinema has not really been at the front burner. Pollution, oil spills, and gas flaring are rarely central issues. Even when films touch on these subjects, they just touch the surface. For example, a movie can blame a greedy “oil boss” for destroying a hamlet. Dramatic storytelling results from this, but it sidesteps more important issues. Who permits these bosses to function? Why do laws fail to stop pollution? These structural issues go unexplored. Viewers see a villain, but they don’t understand how laws could make actual organisations answerable.
This matters because stories impact beliefs. Cultivation theory states that frequent exposure to media alters how people interpret the world (Lai, 2015). If films only depict bad people doing terrible things, viewers might believe that punishing “bad guys” is the solution to pollution. They will not understand the necessity for systemic changes, including enforcing the polluter pays principle (PPP). Cinema has the tools to change this. Its films thrive on relatable characters and local concerns. Imagine a narrative about a community opposing an oil firm. A character might explain how gas flaring violates people’s health rights, or the narrative could demonstrate how inadequate fines absolve polluters. These tales could drive public demand for policy action.
But Cinema generally avoids such complexity. Environmental issues are downplayed or reduced to basic good-vs-evil narratives. This reflects a broader trend: filmmakers focus on commercial drama rather than sophisticated advocacy (Khitrov, 2024). There is no denying the industry’s reach. Cinema films are accessible, affordable, and enjoyed widely, even in remote locations. They fill in literacy and linguistic deficiencies. However, this authority is not used to advance environmental justice.

 
However, there are exceptions. Some films touch on oil pollution’s repercussions, such Black November (2012), which exposes Niger Delta difficulties. However, these are uncommon. Most stories lack substance or actionable answers. This gap is a squandered opportunity. By making pollution a household issue, films might put pressure on decision-makers. If audiences connect environmental harm to policy failings, they might demand tighter enforcement of the PPP. Filmmakers could cooperate with activists or agencies like NOSDRA to assure accuracy. They could also illustrate real situations when the PPP worked or failed. A movie might, for example, compare a town that receives compensation for oil spills (per PPP) with another that suffers because of corruption.

It is crucial to additionally highlight that discussing systemic concerns risks reaction from influential industries. Filmmakers may worry about censorship or financial loss. Nevertheless, the promise remains. Cinema has influenced cultural perceptions before. It normalised conversations about HIV/AIDS and gender injustice through cinema. Environmental policy may experience the same thing (Mango, 2023). To do this, filmmakers need to transcend beyond basic villains. They must show how institutions, not just individuals, enable pollution. This calls for investigation, bravery, and expert cooperation. The payoff might be significant. A compelling narrative about the costs of pollution might inspire communities, embarrass businesses, and compel legislators to take action. Cinema’s storytelling power might take the polluter pays principle from a nebulous idea into a reality.

WEAK ENFORCEMENT WEAKENS POLUTER PAYS PRINCIPLE

It seems nonetheless that the Nigeria’s environmental laws theoretically support the polluter pays principle (PPP). The concept is clear: individuals who cause pollution must bear cleanup costs and compensate sufferers. But in practice, this rule exists primarily on paper. Consider oil spills. Companies like Shell or Chevron often pay little to nothing for destroying land and water (Josiah & Akpuh, 2022). Fines are lowand infrequently enforced. Even when organisations like the National Oil Spill Detection and Response Agency (NOSDRA) issue penalties, corporations ignore them (Amnesty International, 2020). They realise the government lacks the power or motivation

 to collect.
Agencies supposed to enforce PPP are underfunded and understaffed. For instance, NOSDRA finds it difficult to keep an eye on oil-rich areas like the Niger Delta. They rely on antiquated equipment and have limited workers to inspect thousands of kilometres of pipes. Communities have to wait years for assistance when spills occur. Crops are lost by farmers. Rivers become black, and fishermen watch. Yet polluters face no actual penalties. Victims are also let down by the system. Although PPP mandates that businesses pay impacted communities (Aragão, 2022), this rarely occurs. study by Ojum (2025) demonstrates that oil spill victims in the Niger Delta rarely received any reimbursement. Families are stuck in poverty as a result of several lawsuits that drag on in court for decades.

However, the issue is more complex. The Nigerian government frequently contributes to pollution. State-owned refineries and pipelines leak often, yet no agency holds them accountable. This double standard diminishes public trust. If the government ignores its own regulations, why should corporations obey? Weak enforcement produces a loop of harm. Companies consider fines as a minor cost of doing business. Study found that oil businesses in Nigeria spend more on legal expenditures to delay penalties than on actual cleanup (Olujobi, 2023). Meanwhile, pollution worsens. Gas flaring – a practice forbidden in many nations, persists unchecked, contaminating the air and causing respiratory ailments.

Communities are left to cope. Villagers in certain Niger Delta states drink from oil-coated ponds. Children in Rivers State play near rusted pipelines. These stories are widespread, nevertheless, they do not generate headlines rapidly. Without enforcement, PPP is a hollow promise. The lack of political will is clear. According to Olalekan et al. (2019), environmental authorities are frequently underfunded to the point of being irrelevant. A 2023 audit revealed that NOSDRA’s budget was less than 1% of what oil corporations paid in annual taxes. This mismatch ensures that polluters stay in control.

Even when laws are changed, implementation lags. Stricter fines for gas flaring were part of Nigeria’s 2022 Petroleum Industry Act (Borha & Olujobi, 2023). But as of 2025, no corporation has been penalised under the new guidelines. This indicates that laws alone cannot remedy systematic neglect. The ramifications of this failure are worldwide. Nigeria’s oil sector fuels climate change, although the country’s environmental rules are among the least implemented in Africa (Elenwo & Akankali, 2014). The polluter pays idea, a cornerstone of worldwide sustainability efforts, is reduced to a catchphrase here. Until enforcement improves, communities will keep paying the price. Farmers will lose livelihoods; children will drink polluted water; and businesses will keep earning, knowing they can pollute without paying.

GLOBAL STREAMING PLATFORMS AS DOUBLE-EDGED SWORDS

Nigerian stories are now accessible to viewers throughout the world thanks to worldwide streaming services like Netflix, Amazon Prime, and iRokotv. These technologies give unequalled access, with many Nigerian filmmakers currently distributing films directly through streaming sites (Simon, 2022). Movies that were previously only available in local theatres or on unauthorised DVDs are now shown in Europe, Asia and the Americas. This shift has boosted Cinema’s global popularity, with platforms aggressively pushing African stories as part of their content ambitions (Jedlowski, 2022). But this visibility comes at a cost. In order to appeal to a wider audience, streaming services frequently dilute environmental concerns in favour of entertainment value over action. For example, a film showing oil spills in the Niger Delta can focus on interpersonal conflict or personal resilience rather than systemic corporate misconduct. This sanitisation strips questions of their political urgency. A nasty “oil boss” becomes an easy scapegoat, while systemic problems like poor application of the polluter pays principle (PPP), remain unchecked.

 
The impulse to sanitise stems from platform algorithms and audience expectations. Global viewers often seek amusement or relatable drama, not gloomy exposés of environmental devastation. According to a 2024 study, films with “universal themes”—such love and family—trend higher on Netflix Nigeria than films with specialised subjects, including gas flaring (Ndu, 2024). Filmmakers, in turn, develop content to gain spots on selected lists like “Top 10 in Nigeria,” which ensure publicity.

 
This dynamic risks reducing Cinema’s potential to push legislative change. While films might humanise environmental calamities, their muted critiques fail to hold institutions accountable. For instance, a movie might represent a neighbourhood suffering from polluted water without naming the corporations involved or denouncing low fines (e.g., $2 per 1,000 cubic feet for gas flaring). Audiences identify with characters but remain oblivious of the underlying reasons of their sorrow. Streaming platforms also implement indirect censorship. To retain agreements with advertisers or sponsors associated to extractive industries, platforms may deprioritize films that criticise corporate activity.

However, there are opposing opportunities because to the growth of direct-to-streaming delivery. By uploading videos to websites like YouTube or Kwese TV, independent filmmakers get beyond conventional gatekeepers. These producers generally challenge environmental injustice more openly, leveraging viral algorithms to attract niche audiences. It may be stated that streaming’s “double-edged sword” paralleled Cinema’s bigger ambiguities. The sector relies on worldwide collaborations but risks losing its local identity. To maximum impact, filmmakers must balance market demands with advocacy. Collaborations with environmental NGOs might promote documentaries that blend storytelling with valuable data. For instance, a video co-produced with Nigeria’s Health of Mother Earth Foundation can use real-life pollution numbers to anchor its story and make the PPP’s significance evident.

CULTURAL NARRATIVES NORMALISE DAMAGE TO THE ENVIRONMENT

Polluted landscapes are frequently shown in films as unavoidable aspects of everyday life. Scenes like oily rivers, smoke-filled sky, or bleak farmlands abound in films without critique. These graphics provide a subtle message that environmental devastation is routine, inescapable, and beyond human control. For example, films based in the Niger Delta, such The Liquid Black Gold (2010), portray communities living among oil spills and gas flares. However, these situations are hardly ever presented as unfair. Instead, they are depicted as impartial backdrops to human drama. This normalisation has real-world effects. When audiences frequently see pollution portrayed as “just the way things are,” they tend to accept it as unchangeable. According to a study examining the influence of cinema, films influence how people see social reality, particularly in oral cultures where public discourse is dominated by narrative (Frank, 2017). Through the lack of critiques of polluters or remedies like the PPP, Cinema unwittingly reinforces resignation. Communities come to believe that they are solely responsible for the costs associated with pollution.

 
But this is not just a backdrop, it’s a choice. Consider Oloibiri (2016), a film about Nigeria’s first oil well. It exposes how oil production ruined a Niger Delta hamlet, although the story focuses on human suffering rather than structural accountability. The story generates pity but stops short of critiquing practices that help businesses dodge responsibility. This resonates with broader tendencies where Cinema typically personalises environmental harm, condemning “bad actors” instead of investigating broken institutions. Even cultural emblems are co-opted. Some films depict deities or ancestral spirits related to trees and rivers, casting environmental loss as a spiritual catastrophe. While this adds emotional weight, it also risks shifting blame to supernatural forces, while absolving human decision-makers. For instance, if a dirty river is perceived as a god’s curse, viewers may feel powerless to demand cleanup efforts.
These narratives’ lack of urgency reflects Nigeria’s policy lethargy. When films portray pollution as background noise, they mirror a society where fines for gas flaring remain modest ($2 per 1,000 cubic feet) and authorities like NOSDRA lack enforcement ability. Audiences internalise this existing quo. A research on media influence highlights that film images of corruption and poverty shape viewers’ assumption that this is how the world operates (Keenaghan, & Reilly, 2017).

Nevertheless, Cinema’s storytelling potential could alter this loop. Imagine videos that contrast images of responsibility with contaminated landscapes. A scene depicting a town successfully suing an oil firm, or a regulator actually collecting fines may reframe pollution as a solved problem. This corresponds with the PPP’s underlying notion that harm is not inevitable, and polluters must pay. These stories humanise the situation, making abstract solutions like the PPP feel essential. For example, a character calculating medical expenditures from breathing harmful vapours could cause outrage that forces officials to act.

 
The difficulty lies in striking a balance between amusement and criticism. Relatable stories, not lectures, are what make films so successful. But even modest alterations matter. Dinner table arguments could be sparked by a nasty politician who dismisses a spill cleanup. A plotline about a whistleblower revealing corporate malfeasance can inspire real-world reporting. According to Finney (2018), Cultural narratives are not static. They change when storytellers choose to challenge, not just reflect, existing standards. Reframing environmental degradation as a human-made catastrophe, and the PPP as a vehicle for justice; Cinema may turn passive audiences into champions. The purpose is not to lecture but to spark the thinking on why are we accepting this and what can we do to change it.

CONCLUSION

Nigeria’s environmental catastrophe demands urgent response. The PPP offers a path forward, but its success depends on public pressure and political resolve. Cinema, with its cultural influence, may bridge the gap between policy and practice by making environmental justice accessible and significant. Movies have the capacity to humanise difficult themes. They can show the real faces of those affected by pollution, such as towns suffocating on poisonous air, farmers losing their land, and kids drinking contaminated water. By doing this, directors are able to transform the storyline from impersonal laws to relevant personal tales. This emotional connection is vital to generating change.

But cinema can’t achieve it by itself. For the industry to have the most impact, filmmakers must collaborate with environmental experts, activists, and politicians. Together, they can ensure that the stories conveyed are not only compelling but also genuine and actionable. This partnership might lead to films that teach while they delight, prompting conversations that push for accountability. Another level of possibilities is created by the global reach of services like Netflix. While these platforms often put entertainment above activism, they also offer a chance to communicate Nigeria’s environmental challenges to foreign audiences. A well-crafted film may throw a focus on crises like gas flaring or oil spills, drawing global attention and potentially pressuring corporations and governments to act.

However, troubles remain. The PPP’s implementation is nevertheless impeded by corporate involvement and insufficient enforcement. Cinema itself faces risks if it takes on huge industries. However, history reveals that storytelling has always been a means of bringing about social change. From literature to entertainment, stories have shaped how communities view injustice and create solutions. In the end, the objective is clear: to make environmental justice a common duty. Cinema’s contribution in this endeavour is both distinctive and vital. Through the employment of its storytelling power, the industry can persuade Nigerians, and the globe to demand a cleaner, fairer future.

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