Developing a Copyright Curriculum for Nigerian Universities for the Creative Digital Space

This paper explores the significance of teaching and learning digital copyright laws within a reformed Nigerian copyright regime. It further analyzes how an experiential and clinical teaching pedagogy, developed as part of a copyright law curriculum, will become an agency to protect, safeguard, and impel the development of Nigerian creative industries, particularly the film sector. Nigeria is Africa’s largest economy and an emerging creative industrial power. The training and expertise of its legal professionals in the knowledge and creative economy have significant impact beyond Nigeria, across the length and breadth of the other African countries. The article sets out to provide a recipe for a functional approach to the development of a digital copyright curriculum in the law faculties of Nigerian universities as a pragmatic and industry-focused way of teaching while adding value to the creative industries. The paper further examines how the law faculties of Nigerian universities could redesign their copyright curriculum to teach not just theories but, more importantly, the wider policy framework. The paper also explores how to understand the practical, business and economic systems of the creative industries. The paper uses ‘Nollywood’, the contemporary Nigerian film industry, as a case study to continue the discussion on the sustainable development of the Nigerian creative industries.

Indirect Subjects

In Indirect Subjects, Matthew H. Brown analyzes the content of the prolific Nigerian film industry's mostly direct-to-video movies alongside local practices of production and circulation to show how screen media play spatial roles in global power relations. Scrutinizing the deep structural and aesthetic relationship between Nollywood, as the industry is known, and Nigerian state television, Brown tracks how several Nollywood films, in ways similar to both state television programs and colonial cinema productions, invite local spectators to experience liberal capitalism not only as a form of exploitation but as a set of expectations about the future. This mode of address, which Brown refers to as “periliberalism,” sustains global power imbalances by locating viewers within liberalism but distancing them from its processes and benefits. Locating the wellspring of this hypocrisy in the British Empire's practice of indirect rule, Brown contends that culture industries like Nollywood can sustain capitalism by isolating ordinary African people, whose labor and consumption fuel it, from its exclusive privileges.

How firms strategically navigate informal and formal copyright practices: insights from Nollywood

Purpose The purpose of this study is to explain how and why firms configure copyright practices when confronted with state-sanctioned laws and informal customs projected by local ethnic or religious communities. Design/methodology/approach A multi-case inductive study of four film-producing organizations within the Nigerian film industry (i.e. Nollywood) was conducted. Specifically considered were firms that started their operations around the same time with similar founding conditions, experiences, resources and technical competencies. Field observations and multiple rounds of in-depth interviews were conducted to achieve the research objectives. Findings The study found that firms adopted dominant or hybrid configurations when interacting with informality and formality. Dominant configurations represent the exclusive adoption of informal copyright practices while hybrid configurations refer to the blended use of informal and formal copyright practices. The second set of findings revealed that each firm’s strategic intent affected the type of interactional configuration that unfolded in the firm. Specifically, firms with social intents tended to adopt dominant configurations, whereas firms with socio-economic intents tended to adopt hybrid configurations. Practical implications The study implies that firms may profit from strategically focusing on when and in what circumstances to adopt informality. Strategic intents that blend social and economic rationales may secure more positive interactive outcomes from internal and external stakeholders promoting formality and informality. Social implications This study highlights the fact that firms embedded in local religious and ethnic communities use organizational practices to solve social and institutional problems of their members. The copyright practices of these organizations encourage apprenticeship, youth empowerment and entrepreneurship in Nigeria. Originality/value To the best of the authors’ knowledge, this is the first study that goes beyond macro-level analysis to investigate the interactional dynamics between formality and informality at the firm, community, and state levels. The study is also first of its kind to use copyright practices as an analytical lens to explore the interaction between informality and formality.

Nationalism from Below: State Failures, Nollywood, and Nigerian Pidgin

The Nigerian film industry known as “Nollywood” was shaped (and even created) by profound weaknesses of the Nigerian state, but it inherited and carried forward one of the state’s major accomplishments: the creation of a national culture on and through television. This mission was reinterpreted in the context of a low-budget feature-film industry grounded in the informal sector of the economy. Twenty-five years on, governmental failures continue to structure the industry, even as new distribution technologies and the transnational corporations that have entered with them have created a whole new sector of production alongside the original one and have fractured the audience along class lines, adding to original linguistic and cultural divisions. Still, through its storytelling, Nollywood remains a powerful unifying cultural force on the national and Pan-African levels. In this context, Nigerian Pidgin is more important than ever as a linguistic medium of communication and as a symbol of national, regional, and Pan-African unity and communicability.

‘New Normal’ and Gendered Violence in Nigerian Film Space

Arguably, film is the most magical form of storytelling. It is that genre that is most similar to our dreams; a place where a lot of possibilities abound. In the case of Nigerian films, there is little or no holding back as creativity and imagination are often interlaced with biased and unbiased social constructs. This study considers ‘New Normal’ as the current thematic preoccupation of Nigerian films to trivialise women’s rights and promote abuses. This phenomenon is contextualised as intrusive narratives which are now present as a discomforting trope underscored by subtle and at times brash episodes in Nigerian films. Based on the theoretical framework of symbolic annihilation and objectification, salient mentions of existing (or comparative) thoughts on gender, violence and filmic presence are examined. These contentions are justified through content analysis with the adoption of coding schemes that frame the forms and results of violence in the films studied. It avers Nigerian film space as a gendered platform that inspires flights of fancy, violence, sexual depravity and mental grossness through its treatment of violence related subjects. It concludes that Nigerian films promote an inconspicuous attitude where the interest of the man often defines the destiny and functionality of the woman.

Queering the Nigerian Cinema and Politics of Gay Culture

The advocacy for gayism and lesbianism in Nigeria is informed by transnational cultural processes, transculturalism, interculturalism, multiculturalism and globalisation. Although critical dimensions on Lesbian, Gay, Bisexual and Transgender (LGBT) are becoming recurrent subjects in Nigerian scholarship, scholarly works on LGBT, sexual identity and Nigerian cinema remain scarce. Perhaps, this is because of indigenous Nigerian cultural processes. While Chimamanda Adichie, a Nigerian novelist cum socio-political activist, campaigns against marginalisation and subjugation of gays and lesbians and for their integration into the Nigerian cultural system, numerous African socio-cultural and political activists hold a view that is dialectical to Adichie’s. The position of the members of the anti-gay group was further strengthened with the institution of stringent laws against gay practice in Nigeria by the President Goodluck Jonathan led government in 2014. In recent times, the gay, bisexual, transgender and lesbian cultures have been a source of raw material for filmmakers. Some of the thematic preoccupations of films have bordered on questions such as: what does it mean to be gay? Why are gays marginalised? Are gays socially constructed? What is the future of the advocacy for gay and lesbian liberation in Nigeria? Although most Nigerian film narratives are destructive critiques of the gay culture, the purpose of this research is not to cast aspersion on the moral dimension of LGBT. Rather, I argue that films on LGBT create spaces and maps for a critical exploration of the gay question. While the paper investigates the politics of gay culture in Nigerian cinema, I also posit that gays and lesbians are socio-culturally rather than biologically constructed. This research adopts literary and content analysis methods to engage Moses Ebere’s Men in Love with reference to other home videos on the gay and lesbian motifs.

A CRITICAL DISCOURSE OF GIRL-CHILD MARRIAGE/SLAVERY IN SELECTED NIGERIAN FILM

Until recent past, girl-child slavery/marriage, guided by unscrupulous African culture, has posed as major practice in the Nigerian state in the 21stCentury. This cankerworm, manifesting through early marriage, money marriage, commercial sexual exploitation, domestic servitude, and other forms of abuses on the women folk, weakens women participation in economic, political, religious, and social development, thus, increases the issues of pain, suffering, sickness, and death of the people and underdevelopment to the Nigerian 5state as portrayed in Stephanie Linus Dry. Dry is a 21st century film that interrogates girl-child marriage/slavery, money marriage, discrimination, deprivation and inequality against the women. Amongst the major findings is that girl-child marriage/slavery has provided impetus for dramatic and argumentative representations by critics and dramatist over the years, yet, the menace is highly prevalent in the Nigerian state in the 21st century, mostly in the Northern regions. The study therefore aims at interrogating the cause and effects of girl-child marriage/slavery in the Nigerian state in the 21st century. To achieve this, Radical Feminism Theory and Content Analytical Methodology are used as guide. More so, the study recommends that any culture, tradition, or norm that is responsible that for girl-child marriage/slavery in the Nigerian space should be abolished for equity and development to be ascertained.

Political economy of Nollywood: A literature review

Political economy studies control and survival in social life. It is simply defined as the study of production and exchange and how these activities relate with the state and its laws. It is interested in how politics interacts with economics. Extensive essays and texts on the political economy of the film industry in general, and of Hollywood in particular abound. Such studies on Nollywood, the Nigerian film industry, remains scarce. But in recent times, authors, both indigenous and foreign, are beginning to give increased attention to the struggle for power and control within the industry. This study is interested in how economic activities in Nollywood interact with the law and government. It searches existent scholarship to interrogate what has been discussed on aspects of the political economy of the industry. It discusses these studies under production, distribution and consumption. It reviews other important industry matters like policies, interrogating briefly the place of MOPICON in the political economy of Nollywood. This review forms an important document for research on Nollywood, to curb and forestall consistent repetition of studies within Nollywood scholarship.