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Adesokan, Akin. 2004a. “How they see it: The politics and aesthetics of Nigerian video films”.In African Drama and Performance, eds. John Conteh-Morgan and Tejumola Olaniyan.Bloomington: Indiana University Press. 189–97.---. 2004b. “Loud in Lagos: Nollywood videos”. Wasafiri 19(43): 45 – 49.---. 2007. “A revolution from below: The aesthetics of West African video films”. Nka 21: 60–7.---. 2009. “Excess luggage!: Nigerian films and the world of immigrants.” In The New AfricanDiaspora, eds. Isidore Okpewho and Nkiru Nzegwu. Bloomington: Indiana University Press.Aksoy, Asu; Robins, Kevin. 2003. “Banal transnationalism: The difference that televisionmakes”. In The Media of Diaspora. ed. Karim H Karim. New York and London: Routledge. 89 –104.Allen, Robert C. (ed.) 1995. To Be Continued... Soap Operas Around the World. New York andLondon: Routledge.Altbach, Philip G. 1986. “Knowledge enigma: Copyright in the Third World”. Economic andPolitical Weekly 21(37): 1643 – 1650.Altman, Rick. 1984. “A semantic/syntactic approach to film genre”. Cinema Journal 3: 6 – 18.Amselle, Jean-Loup. 2005. L’art de la friche. Essai sur l’art africain contemporain. Paris:Flammarion.Anderson, Benedict. 1983. Imagined Communities: Reflections on the Origin and Spread ofNationalism. London: Verso.Appadurai, Arjun. 1986. “Introduction: Commodity and the politics of value”. In The Social Lifeof Things. Commodities in Cultural Perspective, ed. Arjun Appadurai. Cambridge: CambridgeUniversity Press. 3 – 63.---. 1996. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University ofMinnesota Press.Appiah, Kwame A. 1992. In my Father House: Africa in the Philosophy of Culture. London:Methuen.Aronczyk, Melissa. 2006. “Place as brand: Lessons from two Canadian cities”. In Cities andMedia: Cultural Perspectives on Urban Identities in a Mediatized World, ed. Johan Fornäs.Linköping: Linköping University Electronic Press. 111 – 120.---. 2009. “Research in brief. How to do things with brands: Uses of national identity”. CanadianJournal of Communication 34: 291 – 296.Ashuntantang, Joyce B. 2010. “Constructing identity and authenticity: The evolving Cameroonvideo film in English”. African Literature Today 28: 133 – 144.212
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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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condition, the Nigerian videos’ m
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dramatic item, but they allow them
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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 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 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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