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“Nollywood” is refused when it is a synonym of cheap contents and poor production values. In thiscase, the prevailing attitude is one of differentiation and singularization.Other directors positioned themselves along Tunde Kelani’s line. For instance, Kunle Afolayan,one of the most successful Nigerian directors in recent times, explicitly expresses the ambiguities hesees in the use of the term Nollywood :all the people that are doing something different will tell you that they are notNollywood... so, then, what is Nollywood? I don’t know myself! The entire Nigerianindustry has been called Nollywood, but if Nollywood comes to mean somethinginferior, if Nollywood is only three lights and a cheap video camera, then I'm notNollywood, because I don't do that. If the definition of Nollywood has to do with thecontents I'm not within it, I'm just a Nigerian filmmaker who is doing his own work. Butif Nollywood is just a name, that has nothing to do with the content, I'm fine with it(2010).As Afolayan’s words evidence, the definition of what the Nigerian video industry is and of what theterm “Nollywood” means are enveloped in a general atmosphere of indeterminacy. Within thiscontext individual strategies of self-positioning have acquired a particular importance. Theconflicting discourses on the Nigerian video phenomenon that I highlighted in this chapter haveimportantly influenced the work of numerous Nigerian video entrepreneurs, pushing them towardmore conscious and explicit choices.The hiatus existing between what I labeled throughout this chapter as the “reality” of theNigerian video industry and the ideal represented by the term “Nollywood”, is the space withinwhich the Nigerian filmmakers operate. These two diverging metacultures, the one of “Nollywood”as the second largest film industry in the world, and that of the Nigerian video industry as a cheapand disorganized business, have both interacted with the way the industry has transformed over thepast few years. Many directors in fact consciously aspire toward making the “reality” and the idealfit together. On one side, they are constantly challenged by the kind of criticism I discussed in theprevious sections, and on the other they are inspired by the ideal they see in the international andlocal acceptance of “Nollywood” as a symbol of success. The metaculture of “Nollywood” as asuccessful brand and that of Nigeria as the second largest film-producing-nation in the worldestablished themselves internationally more rapidly than the video industry itself. The “reality” ofthe industry seems in fact to be few steps behind what the label “Nollywood” make people imagine112
in terms of both the industrial infrastructures in place and the average quality of the films produced.But many within the video environment are conscious of this discrepancy, and they are doing theirbest to fill it. The discourse around the video industry is then actively propelling the industryforward by providing, on one side, radical criticism and, on the other, seducing ideals ofachievement.113
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Università degli Studi di Napoli
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P. 169 CHAPTER VII. Nollywood abroa
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owner or any of his friends. Once t
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Nollywood. From this analysis it tr
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phenomenon, affirming new aesthetic
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CHAPTER IDefining the field of enqu
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wave of young scholars interested i
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“Small screen cinema”: The hist
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villagers could assemble to watch
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content to an audience disappointed
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event that made the industry. While
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Pentecostal churches’ Sunday serv
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the essential heterogeneity, fluidi
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) The social life of thingsWhen con
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the art or fashion market, is accel
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QuestionsNollywood, as a phenomenon
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Throughout the three sections that
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who was shooting a video in those d
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The Nigerian video industry has lon
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CHAPTER IIRegulating mobility, resh
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The production crisisWhen the video
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distribution than the video format
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As Jora emphasizes through a number
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impact on the video industry’s ec
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systems of rules that regulate the
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(Meagher 2003: 59). Informal market
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distribution points for pirated goo
Page 61 and 62: conducted by the numerous artists'
Page 63 and 64: imperialism. In many cases the comb
Page 65 and 66: Governor Fashola seems to be losing
Page 67 and 68: CHAPTER III.From Nollywood to Nolly
Page 69 and 70: on the contrary tended to reduce th
Page 71 and 72: Emmanuel Isikaku, the president of
Page 73 and 74: you now have two distinct formation
Page 75 and 76: willingness to screen Nigerian film
Page 77 and 78: Paths of formalization (II): The di
Page 79 and 80: the United States and then in Ghana
Page 81 and 82: etween the video-boom era and the n
Page 83 and 84: will discuss further below, many of
Page 85 and 86: Nollywood is normally consumed, sho
Page 87 and 88: SECTION IITHE “NOLLYWOODIZATION
Page 89 and 90: transnational reformulations of the
Page 91 and 92: time, metaculture tends to develop
Page 93 and 94: CHAPTER IVWhen the Nigerian video i
Page 95 and 96: Haynes’ skepticism about “name
Page 97 and 98: production about the phenomenon sta
Page 99 and 100: epresent his national identity, bot
Page 101 and 102: happened even if, as I will discuss
Page 103 and 104: consciousness, but as the true, aut
Page 105 and 106: is not. 84 This debate has often as
Page 107 and 108: the world in our home videos is all
Page 109 and 110: “Nollywood” and the Nigerian vi
Page 111: Nigerian productions in English, ar
Page 115 and 116: it is possible to say that yet no N
Page 117 and 118: and on children selling snacks alon
Page 119 and 120: To give their films a plot, many do
Page 121 and 122: Within this context it might be imp
Page 123 and 124: epresent the industry are those tha
Page 125 and 126: What seems to be the major challeng
Page 127 and 128: Amongst the numerous festivals that
Page 129 and 130: ather documentarian orientation, as
Page 131 and 132: It is important to underline here t
Page 133 and 134: economic and social reality from wh
Page 135: The reaction that the international
Page 138 and 139: Marco Perugini, a sound and light t
Page 140 and 141: within Nollywood since the re-intro
Page 142 and 143: My intention in this chapter is to
Page 144 and 145: with foreign “White” media cont
Page 146 and 147: esemblance” ([1953] 1986: 32) bet
Page 148 and 149: The second problem relates to the s
Page 150 and 151: while the semantic approach has lit
Page 152 and 153: however, the structure of meaning t
Page 154 and 155: According to the same melodramatic
Page 156 and 157: develop widely accessible stories,
Page 158 and 159: condition, the Nigerian videos’ m
Page 160 and 161: dramatic item, but they allow them
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on the background, the sound of the
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profoundly condition the production
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“experienced in ‘reading’ and
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and stable moral constituency whose
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emergence of diasporic and migrant
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Migrant and diasporic filmmaking ha
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distribution, a position that he de
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Nollywood abroad: Defining the hist
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Immigrant Eyes (2010) and Amazing W
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the profits (image II). Furthermore
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while excluding others. To better d
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As I mentioned above the work of GV
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created by the language barrier, an
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arena in which in most of the cases
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Afrocentric images from and of the
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version of “Afrocentric” tradit
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CONCLUSIONVideos’ mobility and Ni
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New modes of operation emerged, and
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industry. This shift is provoking i
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authoring than our ideology and our
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the audience to interrogate the fil
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Toward a redefinition of Nigerian c
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FilmographyA Very Very Short Story
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L’industrie audiovisuelle au Ghan
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The Tenant. Dir. Onyekachi Ejim. Br
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Adesokan, Akin. 2004a. “How they
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Bazin, André. 1971. What is Cinema
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Eisenstadt, Shmuel N. 2000. “Mult
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---. 2007d. “Nnebue: The anatomy
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---. Forthcoming. “Karishika with
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---. 2005. “Social capital or ana
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Oduko, O.A. 1980. “Kung Fu tips t
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Punathambekar, Aswin. 2005. “Boll
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---. 2000. “Images of the reel th
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Aihe, Okoh. 1997. “Video: farewel
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Lasisi. Akeem. 2009. “Tinsel bene
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InterviewsAbulu, Tony (Nigerian dir
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Sandretti, Simone (Italian director
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