Behind the scenes : The working conditions of technical workers in the Nigerian film industry

2015 ◽  
Keyword(s):  
Working Conditions ◽  
Film Industry ◽  
Nigerian Film

Female Entrepreneurship in the Nollywood Film Industry

2018 ◽  
pp. 126-144
Author(s):  
Floribert Patrick C. Endong
Keyword(s):  
Women Entrepreneurs ◽  
Film Industry ◽  
Future Prospects ◽  
Female Entrepreneurship ◽  
Female Entrepreneurs ◽  
Women Entrepreneurship ◽  
Early Stages ◽  
Production And Distribution ◽  
Micro Level ◽  
Nigerian Film

The Nigerian film industry (Nollywood) has predominantly been presented as a masculine world. This is not unconnected to the fact that most of the players and central figures in the history and growth of the industry are masculine. However, female entrepreneurship has marked the industry right from the early stages of its existence. Like their male counterparts, female entrepreneurs have, through exceptional entrepreneurial techniques, provided actionable solutions to some of the production and distribution crises which the industry has witnessed. Using empirical understandings, this chapter critically explores female entrepreneurship in the sector. It provides a micro-level perspective of socio-economic challenges faced by women entrepreneurs in the Nollywood film industry and their future prospects. The chapter begins by exploring entrepreneurship in Nigeria's economy before delving into the prospects and challenges of women entrepreneurship in the Nollywood industry.

scholarly journals Nollywood in Cameroon: Transnationalisation and Reception of a Dynamic Cinematic Culture

2018 ◽  
Vol 6 (2) ◽  
pp. 129-143
Author(s):  
Floribert Patrick C. Endong
Keyword(s):  
Film Industry ◽  
Social Institutions ◽  
African Countries ◽  
Secondary Sources ◽  
Nigerian Film

The Nigerian film industry (Nollywood) has phenomenally exploded to the extent of affecting audiences and social institutions in various African countries. In Cameroon particularly, various indications suggest that the industry is positively received, despite the persistence of perceptible anti-Nigerian and nationalist feelings among sections of the country’s audiences and communities of cinema ideologues. Using empirical understandings, observations and secondary sources, this paper seeks to explore how the Nollywood phenomenon is manifested and received in the Cameroonian market. It precisely examines the various indexes of Nollywood presence in the country which can be seen in (i) the place Nollywood films have in television broadcast in the country, (ii) the extent to which Nollywood films affect local cinema production in Cameroon and (iii) Cameroonian audiences’ attitudes towards Nollywood films and actors.

Nollywood Afrogeeks

2019 ◽  
pp. 316-334
Author(s):  
Tori Arthur
Keyword(s):  
United States ◽  
Social Media ◽  
Cultural Values ◽  
Film Industry ◽  
African Immigrants ◽  
The United States ◽  
African Continent ◽  
Digital Community ◽  
Online Platforms ◽  
Nigerian Film

Viewing Nigerian film, known as Nollywood, in online platforms provides African immigrants living in the United States with digital spaces to engage with the African continent through films with relatable Pan-African themes. Nollywood on social media sites (YouTube and subscription services IrokoTV, Amazon, and Netflix) marks the Nigerian film industry as a transnational participatory movement that enables immigrants to use the technology at their disposal to watch and comment on films, connect with their cultural values, and become a part of a global digital community of dispersed Africans and African descended populations. Thus, immigrants become a part of a Nollywood focused digital diaspora, a cultural space that illuminated the plurality immigrants negotiate on and off the continent.

Indigenous Narratives as Experimental Cinematic Texts in Nigerian Films

2019 ◽  
Vol 29 (2) ◽  
Author(s):  
Joshua Usman
Keyword(s):  
Cultural History ◽  
Oral Tradition ◽  
Textual Analysis ◽  
Film Industry ◽  
Film Theory ◽  
African Film ◽  
Film Texts ◽  
Folk Narratives ◽  
Nigerian Film ◽  
Folk Stories

The paper seeks to consider the employment of folkloric tales (traditional stories) in indigenous Nigerian films as stimuli for establishing a definitive film industry. The integration of oral features into Nigerian films dates back to the era (1980–1990s) of early films in Nigeria: consider Ajani Ogun (1976), Daskin da Ridi (1990), Egg of Life (2003), Festival of Fire (1999) etcetera. Studies on Nigerian film and oral culture established that the strong narratives of Nollywood films are drawn from indigenous folk stories; indeed, the films are mostly adaptations of folktales. This article demonstrates Nigeria’s cultural history through investigating the role of culture as a strong contributor to media development in Nigeria. The research is based on textual analysis of three Nigerian films, namely The Fish Girl (2016), Hypocrisy (1992) and Daskin da Ridi (1990) as primary texts. The methodology is primarily textual. The study draws on a textual analysis of selected Nigerian films to determine their sources. The study adopts the African film theory which juxtaposes the pre-modern with modernity where the oral tradition and filmmakers are fused together, as highlighted by Tomaselli (1992). The hypothesis is that traditional folktales play an important role in the development of the Nigerian film industry (Nollywood). The study reveals that folktales and other oral genres set a footprint for film texts in Nollywood movies. Therefore, this indicates that there is a clear (although thus far, often ignored) bond between indigenous folk narratives and modern Nigerian films.

scholarly journals CULTURE, LANGUAGE AND IDENTITY: TOWARDS A SYNERGY IN IGBO VIDEO-FILM

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Chukwuma Anyanwu ◽  
Bifatife Olufemi Adeseye
Keyword(s):  
Film Industry ◽  
Political Life ◽  
Language And Identity ◽  
Men And Women ◽  
The People ◽  
Igbo People ◽  
People’S Daily ◽  
People's Daily ◽  
Nigerian Film ◽  
Ways Of Life

Nollywood, the adopted name of the Nigerian Film Industry, can be argued, would not have been but for Igbo movie makers and business men and women. This is not a mean contribution to the economic, social and political life of the nation. But how much and to what extent has the industry been utilized by the film makers to uphold the integrity, culture, language and overall image of the Igbo nation? This paper tries to examine how the Igbo movie has been used or not used to rebrand the Igbo ways of life. How it has fared in the hands of the people, the makers and viewers and how it has treated the issues dear to the people, such as culture, language and identity. How far has the Igbo video film been faithful to, projected, or tried to preserve these ways of life of the Igbo people? The movie has become one of the major items on the people’s daily conversation menu and as such, cannot be ignored except by the most backward of people. This is why this paper sets out to examine ways via which the medium can be utilized to appeal more to the people, make their culture more relevant and create avenues for its projection and preservation.

scholarly journals Nollywood and Cancer: A Workable Partnership

2018 ◽  
Vol 4 (Supplement 2) ◽  
pp. 140s-140s
Author(s):  
O. Izuegbuna
Keyword(s):  
Health Professionals ◽  
Policy Process ◽  
Film Industry ◽  
Scientific Information ◽  
Cancer Information ◽  
Health Issues ◽  
The World ◽  
Program Policy ◽  
Rural Africa ◽  
Nigerian Film

Background and context: The Nigerian film industry also known as Nollywood is the biggest in Africa and the second largest in the world in terms of annual production. Nollywood produces hundreds of films every year, most of them low budget straight to DVD tapes. As at 2014 Nollywood had an estimated gross worth of about 5 billion U.S. dollars. It also employs about a million people in the country. Nollywood has since inception been able to blend historical facts with good imagination to create and sustain our society. It has done this across most genres, but a few. Health issues such as cancer is not well represented in Nollywood and about 80,000 Nigerians die of cancer annually. Aim: To encourage cancer themes in Nollywood movies. To help form an alliance between health professionals and Nollywood. Strategy/Tactics: Forming a platform where health professionals and Nollywood practitioners can converge to seek out cancer information for budding stories and get authentic, scientific information concerning cancer and help dispel some local myth on cancer especially in rural Africa. Program/Policy process: A working opportunity whereby more cancer themes can be introduced into Nollywood movies either as a main story, or a secondary one. Outcomes: A work in progress. What was learned: Though Nollywood lags behind in putting health themes in her movies, it is not too late to start off. The journey of a thousand miles starts with a step. Changing people´s perspective can be daunting, but impossible is nothing. Nollywood has to its advantage millions of followers and an established industry. What it requires is a collaboration with health professionals to make movies with cancer themes and highly factual in the science.

Nollywood Afrogeeks

2016 ◽  
Vol 7 (3) ◽  
pp. 49-64 ◽  
Author(s):  
Tori Arthur
Keyword(s):  
United States ◽  
Cultural Values ◽  
Film Industry ◽  
African Immigrants ◽  
The United States ◽  
African Continent ◽  
Digital Community ◽  
Online Platforms ◽  
Pan African ◽  
Nigerian Film

Viewing Nigerian film, known as Nollywood, in online platforms provides African immigrants living in the United States with digital spaces to engage with the African continent through films with relatable Pan-African themes. Nollywood on social media sites (YouTube and subscription services IrokoTV, Amazon, and Netflix) marks the Nigerian film industry as a transnational participatory movement that enables immigrants to use the technology at their disposal to watch and comment on films, connect with their cultural values, and become a part of a global digital community of dispersed Africans and African descended populations. Thus, immigrants become a part of a Nollywood focused digital diaspora, a cultural space that illuminated the plurality immigrants negotiate on and off the continent.

Nollywood

2017 ◽  
Author(s):  
Olufunmilayo B. Arewa
Keyword(s):  
Intellectual Property ◽  
Natural Experiment ◽  
Digital Video ◽  
Film Industry ◽  
Distribution Networks ◽  
Copyright Infringement ◽  
Business Strategies ◽  
Viral Spread ◽  
The World ◽  
Nigerian Film

Nollywood, the Nigerian film industry, is the top producer of digital video films in the world. Funmi Arewa argues that Nigeria is an unlikely locale for the development of a major film industry given its lack of robust intellectual property enforcement. She demonstrates how Nollywood constitutes a natural experiment for creativity in the relative absence of IP protection, in which the intertwined actions of creators, entrepreneurs, and infringers all contribute to the market’s growth. Because the viral spread of Nollywood films has been a key element of success, content producers can adopt business strategies that actually harness copyright infringement by monetizing wide-reaching distribution networks.

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