VIDEOS IN MOTION - fasopo

More documents

Recommendations

Info

The Tenant. Dir. Onyekachi Ejim. Broken Manacles Entertainment (English). Canada: 2010.Video.The Video Revolution in Ghana. Dir. Socrates Safo and Carmela Garritano. – (English).USA/Ghana: 2000. Video.This is Nollywood. Dir. Franco Sacchi. Center for Digital Imaging Arts and Eureka FilmProductions (English). USA/Nigeria: 2007. Video.Through the Glass. Dir. Stephanie Okereke. Next Page Productions (English). USA/Nigeria:2008. Film.Turmin Danya. Dir. Salisu Galadanci. Tumbin Giwa Drama Group (Hausa). Nigeria: 1990.Video.Under Pressure. Dir. Tony Dele Akynyemi. Double ‘A’ Entertainment (English and Pidgin).Holland: 1998. Video.Uwado. Dir. Vincent Omoigui and Simone Sandretti. GVK production (Edo language). Italy:2008. Video.Violated. Dir. Amaka Igwe. Christal Gold (English and Pidgin). Nigeria: 1995. Video.Viva Riva. Dir. Djo Munga. uFilm, Formosa Productions and Left Field Ventures (French,Portuguese and Lingala with English Subtitles). Democratic Republic of Congo: 2011. Video.We Are Not Slaves. Dir. Vincent Omoigui and Simone Sandretti. GVK production (English andPidgin). Italy: unreleased. Video.Welcome to Nollywood. Dir. Jamie Meltzer. Welcome to Nollywood Production (English).USA/Nigeria: 2007. Video.White Waters. Dir. Izu Ojukwu. Amstel Malta Box Office and Digital Jungle (English). Nigeria:2008. Video.100 days in the jungle. Dir. Chico Ejiro. Project Nollywood (English). Nigeria: 2007. Video.210
BibliographyBooks and academic journals:Abani, Chris. 2009. “Omar Sharif comes to Nollywood: A storyboard in 10 frames”. InNollywood, ed. Pieter Hugo. New York, London and Berlin: Prestel. 7 – 16.Abdoulaye, Ibbo Daddy. 2005. “Niger: les films nigériens au ‘banc des amoreux’”. InNollywood: Le phénomène video au Nigeria, ed. Pierre Barrot. Paris: L’Harmattan. 101 – 110.Achebe, Chinua. 1982. “Africa and her writers." In Morning Yet On Creation Day: Essays.Chinua Achebe. London: Heinemann. 19 - 21.Acland, Charles R. 2003. Screen Traffic. Movies, Multiplexes and Global Culture. Durham andLondon: Duke University Press.Adamu, Abdalla Uba. 2005. “Read to reel: Transformation of Hausa popular literature fromorality to visuality”. Keynote address presented at the 4th International Annual Convention of theAssociation of Nigerian Authors, Kano, 11 November 2005.---. 2007. “Currying favour: Eastern media influences and the Hausa video film”. FilmInternational 28(5.4): 77 – 89.---. 2010. “Islam, Hausa culture, and censorship in northern Nigerian video film”. In ViewingAfrican Cinema in the Twenty-first Century: FESPACO Art Films and the Nollywood VideoRevolution, eds. Ralph Austen and Saul Mahir. Athens: Ohio University Press. 63 – 73.Adejunmobi, Moradewun. 2002. “English and the audience of an African popular culture.”Cultural Critique 50: 74 – 103.---. 2003. “Video film technology and serial narratives in West Africa.” In African Video FilmToday, ed. Foluke Ogunleye. Manzini: Academic Publishers. 51-68.---. 2007. “Nigerian video film as minor transnational practice.” Postcolonial Text 3(2).http://journals.sfu.ca/pocol/index.php/pct/article/view/548/405>. 1-16.---. 2010. “Charting Nollywood's appeal locally and globally”. African Literature Today 28: 106– 121.---. 2011. “Nollywood, globalization, and regional media corporations in Africa”. PopularCommunication 9(2): 67 – 78.Adesanya, Afolabi. 2000. ‘‘From film to video.’’ In Nigerian Video Films, ed. Jonathan Haynes.Athens: Ohio University Press. 37 – 42.211
Page 2 and 3:
Università degli Studi di Napoli
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'
Page 63 and 64:
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
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
Page 129 and 130:
ather documentarian orientation, as
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 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 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
show all

VIDEOS IN MOTION - fasopo

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?