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Insecurity and terrorism have been one of the cogent factors leading to underdevelopment and overt poverty within the Nigerian space. Since the country gained independence in 1st October, 1960, with exportation and sales of crude oil found mostly in the Niger Delta areas, as one of its major source of generating income, neglecting many other sources and focusing more on exporting the oil at the detriment of the inhabitants of the soil. Despite the amount of wealth generated from the region, its despicable state in terms of physical and economic development has turned it to a theatre of war, terrorism and unrest. Writers, directors and dramatists, through their works, have continued to speak against the terror and injustice created in this region. Many times, they charge the Nigerian government to find a lasting solution to the insurgency and terrorist attacks. Therefore, in an attempt to further give voice to the above call, this study situates itself in the scenario of the region, giving a clearer understanding of the conflict situation through a sociological analysis of Guy Hibbert’s Blood and Oil and Jeta Amata’s Black November. It considers how Nigerian filmmakers are as responsive to national and historic issues like their counterparts in other artistic endeavours and examines the portrayal of Nigeria's oil-producing region’s crisis in video films, Blood and Oil and Black November as a case study.