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within Nollywood since the re-introduction of theatre halls in the country. They both are likely tohave an impact on Nollywood mainstream's aesthetics and narratives in the years to come.140
CHAPTER VIThe openness of Nigerian video genres: Melodrama, realism and the creation of a pan-AfricanpublicIn the article he wrote for the special issue of Film International dedicated to the Nigerian videoindustry, the American anthropologist John McCall described Nollywood as one of the few populardiscourses that, in African recent history, can rightly be labeled as pan-African (2007). Since theearly twentieth century numerous artistic and political movements considered pan-Africanism, andthe shared conception of “African identity” that would come with it, as the prerequisites for theachievement of the cultural and political independence of the continent. The attempts that thesemovements produced remained in most cases unaccomplished, and diverging political, economic,ethnic and religious interests prevailed over the ideal of unity. However, what a strong ideologicaland intellectual commitment did not manage to achieve, seems today to be in the process ofhappening as the result of an autonomous and spontaneous dynamic. The pan-Africanism that isemerging from the continental circulation and consumption of Nigerian videos may not be, asMcCall underlines, “the monolithic ideology that pan-Africanists envisioned”, but it is undeniablyparticipating to the creation of a “continent-wide popular discourse about what it means to beAfrican” (2007: 94).The forms and contents that this discourse has assumed derive from the very specificity of itsgenealogy. This is in fact a pan-African discourse whose roots are based on a series of social andhistorical factors that have emerged in the past twenty years, such as the technologicaltransformations that revolutionized African infrastructures of communication; the intense processesof urbanization that traversed most African countries; the economic crisis that hit sub-SaharanAfrica since the mid-1980s; the tremendous demographic growth and the consequential increase ofthe number of youth on the average African population. Nigerian videos emerged from thesedynamics and created a formula that made videos able to “speak” these transformations, to narratethem giving them a format, a specific language and a recognizable look. With some degree ofsimplification, we can say that Nigerian videos incarnate a specific era of African social andcultural history, and this might well be the main reason for their continental success. But even if thissentence may be true, it keeps our analysis to a superficial level, and thus needs to be challenged bya number of more precise questions. What are the elements that made Nigerian videos travelthroughout the continent? How are they organized together? What narrative and aesthetic languagedo they speak and how did they manage to address a pan-African public?141
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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
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conducted by the numerous artists'
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imperialism. In many cases the comb
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Governor Fashola seems to be losing
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CHAPTER III.From Nollywood to Nolly
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on the contrary tended to reduce th
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Emmanuel Isikaku, the president of
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you now have two distinct formation
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willingness to screen Nigerian film
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Paths of formalization (II): The di
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the United States and then in Ghana
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etween the video-boom era and the n
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will discuss further below, many of
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Nollywood is normally consumed, sho
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SECTION IITHE “NOLLYWOODIZATION
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Page 93 and 94: CHAPTER IVWhen the Nigerian video i
Page 95 and 96: Haynes’ skepticism about “name
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Page 105 and 106: is not. 84 This debate has often as
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Page 109 and 110: “Nollywood” and the Nigerian vi
Page 111 and 112: Nigerian productions in English, ar
Page 113 and 114: in terms of both the industrial inf
Page 115 and 116: it is possible to say that yet no N
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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
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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 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
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Page 158 and 159: condition, the Nigerian videos’ m
Page 160 and 161: dramatic item, but they allow them
Page 162 and 163: on the background, the sound of the
Page 164 and 165: profoundly condition the production
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Page 168 and 169: and stable moral constituency whose
Page 170 and 171: emergence of diasporic and migrant
Page 172 and 173: Migrant and diasporic filmmaking ha
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Page 176 and 177: Nollywood abroad: Defining the hist
Page 178 and 179: Immigrant Eyes (2010) and Amazing W
Page 180 and 181: the profits (image II). Furthermore
Page 182 and 183: while excluding others. To better d
Page 184 and 185: As I mentioned above the work of GV
Page 186 and 187: created by the language barrier, an
Page 188 and 189: 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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