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L’industrie audiovisuelle au Ghana. Dir. Raymonde Tiendre. Waka Films and TV5 (French).France/Ghana: 2001. Video.Lagos/Koolhaas. Dir. Bregtje van der Haak. Pieter Van Huystee Film and Television (Englishand Dutch). Netherland/Nigeria: 2002. Video.Letter to a Stranger. Fred Amata. Project Nollywood (English). Nigeria: 2007. Video.Lettere dal Sahara. Dir. Vittorio de Seta. Metafilm (Italian, French, Wolof). Italy: 2006. Film.Living in Bondage. Dir. Chris Obi Rapu. NEK videos (Igbo with subtitles in English). Nigeria:1992. Video.Lucky Joe. Dir. Obi Emelonye. The Nollywood Factory (English). UK: 2006. Video.Mission to Nowhere. Dir. Teco Benson. TFP Global Network (English). Nigeria: 2007. Video.Mortal Inheritance. Dir. Andy Amenechi. Silverscreen Studios (English). Nigeria: 1996. Video.Nick Goes to Nollywood. Dir. Alicia Arce and Brenda Goldblatt. BBC (English). UK/Nigeria:2004. TV.Nollywood Abroad. Dir. Saartje Geerts. Associate Directors (English). Belgium: 2008. Video.Nollywood Babylon. Dir. Ben Addelman and Samir Mallal. AM Pictures and National FilmBoard of Canada (English). Canada/Nigeria: 2008. Video.Nollywood Hustlers. Dir. Moses Iwang. First Kingdom Gate and Royal Art Academy (Englishand Pidgin). Nigeria: 2010. Video.Nollywood, Just Doing It! Dir. Jane Thurborn. – (English). UK/Nigeria: 2008. Video.Nollywood Lady aka Peace Mission. Dir. Dorothee Wenner. A Pong Production (English).Germany/Nigeria: 2008. Video.Nollywood, le cinéma africain dans la cours des grands. Dir. Lea Jamet. France Ô (French).France/Nigeria: 2008. TV.Nollywood, le Nigéria fait son cinéma. Dir. Julien Hamelin. Sunset Press (French).France/Nigeria: 2008. Video.Once Upon a Time in Nollywood: The Making of “Half Empty, Half Full”. Dir. Achor Yusef.DDD Entertainment (English). Nigeria: 2008. Video.Osuofia in London. Kingsley Ogoro. Kingsley Ogoro Production (English). Nigeria/UK: 2003.Video.Pirates of The Caribbean. Dead Man’s Chest. Dir. Gore Verbinski. Walt Disney Pictures(English). USA: 2006. Film.Rattlesnake 1. Dir. Amaka Igwe. Chrystal Gold (Igbo with English subtitles). Nigeria: 1995.Video.208
Rattlesnake 2. Dir. Amaka Igwe. Chrystal Gold (Igbo with English subtitles). Nigeria: 1995.Video.Rattlesnake 3. Dir. Amaka Isaac-Ene. Chrystal Gold (Igbo with English subtitles). Nigeria: 1999.Video.Reloaded. Dir. Desmond Elliot. Emem Isong Production (English). Nigeria: 2010. Video.Rituals. Dir. Andi Amenechi. NEK videos (English). Nigeria: 1997. Video.Senseless. Dir. Fidelis Duker. Project Nollywood (English). Nigeria: 2007. Video.Silent Scandal. Dir. T.K. Falope. Vivian Ejike Production (English). Nigeria: 2009. Video.Sitanda. Dir. Izu Ojukwu. Amstel Malta Box Office and Digital Jungle (English). Nigeria: 2006.Video.Soltanto il mare. Dir. Dagmawi Yimer, Giulio Cderna and Fabbrizio Barracco. ArchivioMemorie Migranti (Italian). Italy: 2009. Video.Tango With Me. Dir. Mamood Ali Balogun. Brickwall Communications (English). Nigeria:2011. Film.The Battle of Musanga. Dir. Bolaji Dawodu. Chezkay Film and Gabosky Films (English andPidgin). Nigeria: 1996. Video.The Child. Dir. Izu Ojukwu. Amstel Malta Box Office and Digital Jungle (English). Nigeria:2010. Video.The Figurine. Dir. Kunle Afolayan. Golden Effects (English, Pidgin and Yoruba with Englishsubtitles). Nigeria: 2009. Video.The Hard Nut to Crack. Dir. Prince Frank Abieyuwa Osharhenoguwu. IGB Film and MusicIndustry (English and Pidgin). Italy: 2008. Video.The Liquid Black Gold. Dir. Ikenna Emma Aniekwe. Ossy Affason Movies (English and Pidgin).Nigeria: 2009 Video.The London Successor. Dir. Obi Emelonye. The Nollywood Factory (English). UK: 2006. Video.The Making of “The Battle of Musanga”. Dir. Tade Ogidan. OGD Pictures (English). Nigeria:1996. Video.The Making of the “Return of Jenifa”. http://www.youtube.com/watch?v=mneU5a7uCwsThe Mirror Boy. Dir. Obi Emelonye. The Nollywood Factory (English). Nigeria/Gambia/UK:2010. Video.The Only Way After Home, But It’s Risky. Dir. Prince Frank Abieyuwa Osharhenoguwu. IGBFilm and Music Industry (English and Pidgin with subtitles in English). Italy: 2007. Video.209
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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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develop widely accessible stories,
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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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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 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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