Abstract
At the end of February, Nigerian security agents seized Blues for a Prodigal — a film written, directed and produced by Nigeria's leading writer, Wole Soyinka — on the first day of its public showing in Lagos. The action was strongly criticised in an editorial in the Lagos Guardian, which called it a ‘most counter-productive measure’, putting ‘a shroud of uncertainty on the permissible limits of self-expression’. The Guardian complained of ‘a web of official silence’ regarding the ban.
James Gibbs writes: