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Università degli Studi di Napoli “L’Orientale”Dipartimento di Studi e Ricerche su Africa e Paesi ArabiTesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova SerieVIDEOS IN MOTIONProcesses of transnationalization in the southern Nigerian video industry:Networks, Discourses, AestheticsCandidate: Alessandro JedlowskiSupervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”)Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York)Academic Year 2010/20112
TABLE OF CONTENTSP. 5 INTRODUCTION. Videos in motionP. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questionsP. 40 SECTION I.Beyond the video boom: Informal circulation, crisis of production and processes oftransnationalization in the southern Nigerian video industryP. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and thepiracy scapegoat.P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the videoindustry’s economy and the emergence of a new wave in Nigerian cinemaP. 87 SECTION II.The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes ofcommoditization and the industry’s transformations.P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming andbranding in the videos’ discursive mobility.P. 114 CHAPTER V. Nigerian videos in the global arena: The postcolonial exotic revisited.P. 137 SECTION III.Global Nollywood: Nigerian videos’ openness and the videos’ diasporic transformations.P. 141 CHAPTER VI. The openness of Nigerian video genres: Melodrama, realism and the creationof a pan-African public3
Page 4: P. 169 CHAPTER VII. Nollywood abroa
Page 8: owner or any of his friends. Once t
Page 12 and 13: Nollywood. From this analysis it tr
Page 14 and 15: phenomenon, affirming new aesthetic
Page 16: CHAPTER IDefining the field of enqu
Page 19 and 20: wave of young scholars interested i
Page 21 and 22: “Small screen cinema”: The hist
Page 23 and 24: villagers could assemble to watch
Page 25 and 26: content to an audience disappointed
Page 27 and 28: event that made the industry. While
Page 29 and 30: Pentecostal churches’ Sunday serv
Page 31 and 32: the essential heterogeneity, fluidi
Page 33 and 34: ) The social life of thingsWhen con
Page 35 and 36: the art or fashion market, is accel
Page 37 and 38: QuestionsNollywood, as a phenomenon
Page 39 and 40: Throughout the three sections that
Page 41 and 42: who was shooting a video in those d
Page 43 and 44: The Nigerian video industry has lon
Page 45 and 46: CHAPTER IIRegulating mobility, resh
Page 47 and 48: The production crisisWhen the video
Page 49 and 50: distribution than the video format
Page 51 and 52: As Jora emphasizes through a number
Page 53 and 54:
impact on the video industry’s ec
Page 55 and 56:
systems of rules that regulate the
Page 57 and 58:
(Meagher 2003: 59). Informal market
Page 59 and 60:
distribution points for pirated goo
Page 61 and 62:
conducted by the numerous artists'
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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 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
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
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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
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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
Page 162 and 163:
on the background, the sound of the
Page 164 and 165:
profoundly condition the production
Page 166 and 167:
“experienced in ‘reading’ and
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
Page 174 and 175:
distribution, a position that he de
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 192 and 193:
version of “Afrocentric” tradit
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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