VIDEOS IN MOTION - fasopo

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version of “Afrocentric” traditions intervenes in the plot to provide a cultural model that can helpthe audiences to cope with the identity-related problems that they encounter in their everyday life,and which are connected to the “double absence” and existential in-betweeness that, as I discussedearlier, characterize the experience of living in the diaspora.XI: the poster of Back to AfricaXII: the poster of The Mirror BoyAs discussed throughout this chapter, the specific position in which Nigerian diasporicproduction companies found themselves obliged them to creatively experiment with differentcommercial strategies and narrative choices. In this context the relationship they entertained withthe video industry in Nigeria has been ambiguous. As I have evidenced, most of the diasporicproducers did not have any experience of filmmaking before creating a production company and, inmost cases, they did not have any structured contact within the video industry’s environment either.However, all of them clearly drew inspiration from the Nigerian video phenomenon and used their(often self-appointed) affiliation to Nollywood as a brand to gain some kind of recognition in frontof both Nigerian and European audiences. While they would have probably struggled to emerge andsurvive autonomously, their constant reference to the Nigerian video industry gave them some sortof legitimacy and the strength to further pursue their initiative.192
However, the position of marginality occupied by these diasporic production companies inrelation to both the Nigerian video industry and the European cinema infrastructures, has obligedthem to reinvent their assets in order to find a position in the film market in Nigeria and, eventually,in Europe. They thus developed commercial, aesthetic and narrative strategies that borrow someelements from Nollywood while at the same time establishing a distance from it. Their peculiarposition has transformed them into the bridge that could connect European audiences to theNigerian video phenomenon. The aesthetic and narrative transformations that some of theseventures adopted, as well as their commercial strategies, are in fact giving to the Nigerian videophenomenon a higher visibility and a stronger international acceptance.193
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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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transnational reformulations of the
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time, metaculture tends to develop
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CHAPTER IVWhen the Nigerian video i
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Haynes’ skepticism about “name
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production about the phenomenon sta
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epresent his national identity, bot
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happened even if, as I will discuss
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consciousness, but as the true, aut
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is not. 84 This debate has often as
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the world in our home videos is all
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“Nollywood” and the Nigerian vi
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Nigerian productions in English, ar
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in terms of both the industrial inf
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it is possible to say that yet no N
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and on children selling snacks alon
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To give their films a plot, many do
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Within this context it might be imp
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epresent the industry are those tha
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What seems to be the major challeng
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Amongst the numerous festivals that
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ather documentarian orientation, as
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It is important to underline here t
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economic and social reality from wh
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The reaction that the international
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Marco Perugini, a sound and light t
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within Nollywood since the re-intro
Page 142 and 143: My intention in this chapter is to
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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
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Page 162 and 163: on the background, the sound of the
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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
Page 190 and 191: Afrocentric images from and of the
Page 194 and 195: CONCLUSIONVideos’ mobility and Ni
Page 196 and 197: New modes of operation emerged, and
Page 198 and 199: industry. This shift is provoking i
Page 200 and 201: authoring than our ideology and our
Page 202 and 203: the audience to interrogate the fil
Page 204 and 205: Toward a redefinition of Nigerian c
Page 206 and 207: FilmographyA Very Very Short Story
Page 208 and 209: L’industrie audiovisuelle au Ghan
Page 210 and 211: The Tenant. Dir. Onyekachi Ejim. Br
Page 212 and 213: Adesokan, Akin. 2004a. “How they
Page 214 and 215: Bazin, André. 1971. What is Cinema
Page 216 and 217: Eisenstadt, Shmuel N. 2000. “Mult
Page 218 and 219: ---. 2007d. “Nnebue: The anatomy
Page 220 and 221: ---. Forthcoming. “Karishika with
Page 222 and 223: ---. 2005. “Social capital or ana
Page 224 and 225: Oduko, O.A. 1980. “Kung Fu tips t
Page 226 and 227: Punathambekar, Aswin. 2005. “Boll
Page 228 and 229: ---. 2000. “Images of the reel th
Page 230 and 231: Aihe, Okoh. 1997. “Video: farewel
Page 232 and 233: Lasisi. Akeem. 2009. “Tinsel bene
Page 234 and 235: InterviewsAbulu, Tony (Nigerian dir
Page 236: Sandretti, Simone (Italian director
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