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FilmographyA Very Very Short Story of Nollywood. Dir. Awam Ampka. – (English). USA/Nigeria: 2008.Video.Abroad Wahala. Dir. Prince Frank Abieyuwa Osharhenoguwu. IGB Film and Music Industry(English/Pidgin). Italy: 2005. Video.Across the Niger. Dir. Izu Ojukwu. Kinglsey Ogoro Production (English/Igbo). Nigeria: 2004.Video.Africanized. Dir. Theo Eshetu. White Light (English). Italy: 2001. Video.Akpegi Boyz. Dir. Vincent Omoigui and Simone Sandretti. GVK production (English and Pidginwith Italian subtitles). Italy: 2009. Video.Ali di cera. Dir. Hedi Krissane. Tatooine Prod. (Italian). Italy: 2008. Video.Amazing Grace. Dir. Jeta Amata. Jeta Amata Concepts & Amazing Grace Films (English).Nigeria: 2006. Film.Anchor Baby. Dir. Lonzo Nnzekwe. Alpha Galore Films (English). Canada: 2010. Video.Arugba. Dir. Tunde Kelani. Mainframe (Yoruba and English). Nigeria: 2008. Video.Back to Africa. Dir. Toni Abulu. Bonag Industries Nigeria and Toni Abulu Film (English).USA/Nigeria: 1997. Video.Black Gold. Dir. Jeta Amata. Jeta Amata Concepts, Rock City Entertainment and Starkid(English). Nigeria: 2011. Film.Blinded Devil. Dir. Vincent Omoigui and Simone Sandretti. GVK production (English andPidgin with Italian subtitles). Italy: unreleased. Video.Bursting Out. Dir. Daniel Ademinokan and Desmond Elliot. Emem Isong Production (English).Nigeria: 2010. Video.Carlito's Way. Dir. Brian de Palma. Universal Pictures (English). USA: 1993. Film.Caught in The Middle. Dir. Charles Novia. Project Nollywood (English). Nigeria: 2007. Video.Cindy's Note. Dir. Izu Ojukwu. Amstel Malta Box Office and Digital Jungle (English). Nigeria:2007. Video.Colpevole fino a prova contraria. Dir. Hedy Krissane. Abxentium snc. (Italian and arabic). Italy:2005. Video.Come un uomo sulla terra. Dir. Dagamwi Yimer, Andrea Segre, Riccardo Biadene. ZetaLab(Italian, Amaric, English with sutitles in Italian). Italy: 2008. Video.Crazy like a fox. Dir. Tony Abulu. Weel Go USA Inc (English). USA: 2009. Video.206
Dangerous Twins. Dir. Tade Ogidan. OGD Pictures (English). Nigeria/UK: 2004. Video.Dapo Junior. Dir. Tony Dele Akynyemi. Double ‘A’ Entertainment (English and Pidgin).Holland: 2000. Video.Died Wretched. Dir. Kenneth Nnebue. NEK videos (English). Nigeria: 1998. Video.Domitilla. Dir. Zeb Ejiro. Zeb Ejiro Productions (Pidgin and English). Nigeria: 1996. Video.Echoes of War. Dir. Obi Emelonye. The Nollywood Factory (English). UK/Nigeria/SierraLeone: 2003. Video.Efe-Obomwan. Dir. Vincent Omoigui. GVK productions (Edo language). Italy: 2006. Video.End of the Wicked. Dir. Teco Benson. Liberty Films (English). Nigeria: 1999. Video.Europe by road… miles away from Africa 1 & 2. Dir. Ikenna Ezeugwu. Columbia Production,Project Africa Film/Time Entertainment (English and Pidgin). Nigeria: 2007. Video.From Amsterdam with Love. Dir. Tony Dele Akynyemi. Double ‘A’ Entertainment (English andPidgin). Holland: 2003. Video.Ghanaian Video Tales. Dir. Tobias Wendl. Arcadia Films (English). Germany/Ghana: 2006.Video.Glamour Girls. Dir. Chika Onukwufor. NEK videos (English and Pidgin). Nigeria: 1994. Video.Glamour Girls 2: The Italian Connection. Dir. Christian Onu. NEK Video (English and Pidgin).Nigeria: 1996. Video.Good Friends. Dir. Obi Emelonye. Basic Input (English). UK: 2000. Video.High Blood Pressure. Dir. Teco Benson. Goodlife Production (English). Nigeria: 2010. Video.Holland Heat. Dir. Tony Dele Akynyemi. Double ‘A’ Entertainment (English and Pidgin).Holland: 2002. Video.Home in Exile. Dir. Lancelot Oduwa Imasuen. Icelidesfilms and Lancewealth Image (English)Nigeria: 2009. Video.Il sangue non è acqua fresca. Dir. Theo Eshetu. White Light (Italian, English, Aamaric withItalian subtitles). Italia/Ethiopia: 1997. Video.Ije, The Journey. Dir. Chineze Anyane Xandria Productions (English). USA/Nigeria: 2010. Film.Inside Africa, The Best of African Film in 2004. CNN documentary (English). USA/Nigeria:2004. Video.Irapada. Dir. Kunle Afolayan. Golden Effects (English, Yoruba and Hausa with Englishsubtitles). Nigeria: 2007. Video.Jenifa. Dir. Muyhdeen S. Ayinde. Olasco Film Nigeria Ltd (English, Pidgin and Yoruba).Nigeria: 2008. Video.207
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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
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My intention in this chapter is to
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with foreign “White” media cont
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esemblance” ([1953] 1986: 32) bet
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The second problem relates to the s
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while the semantic approach has lit
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however, the structure of meaning t
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According to the same melodramatic
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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
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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 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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