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Eisenstadt, Shmuel N. 2000. “Multiple Modernities”. Daedalus 129(1): 1 – 29.Ekwazi, Hyginus. 1987. Film in Nigeria. Jos: Nigerian Film Corporation.---. 2000. “The Igbo video film: A glimpse into the cult of the individual.” In Nigerian VideoFilms, ed. Jonathan Haynes. Athens: Ohio University Press. 131 – 147.---. 2007. “The Hausa video film: The call of the muezzin.” Film International 28(5.4): 64 – 70.Ekwazi, Hyginus; Sokomba, Mercy; Mgbejume, Onyero (eds.) 2001. Making the Transitionfrom Video to Celluloid. Jos: National Film Institute.Esan, Oluyinka. 2008. “Appreciating Nollywood: Audiences and Nigerian films”.Particip@tions 5.1 (special issue, may 2008).---. 2009. Nigerian Television. Fifty Years of Television in Africa. Princeton: AMV Publishing.Espinosa, Julio G. 1979. “For an imperfect cinema”. Jump Cut. A Review of ContemporaryMedia 20(1979): 24 – 26.Fabian, Johannes. 1978. “Popular culture in Africa: Findings and conjectures.” Africa 48(4): 315– 334.---. 1996. Moments of Freedom. Anthropology and Popular Culture. Charlottesville and London:University of Virginia Press.Ferguson, James. 1999. Expectations of Modernity. Myths and Meanings of Urban Life on theZambian Copperbelt. Berkley: University of California Press.---. 2006. Global Shadows. Africa in the Neoliberal World Order. Durham and London: DukeUniversity Press.Fourchard, Laurent. 2011. “Lagos, Koolhaas and partisan politics in Nigeria”. InternationalJournal of Urban and Regional Research 35(1), available on line athttp://onlinelibrary.wiley.com/doi/10.1111/j.1468-2427.2010.00938.x/pdf.Gaonkar, Dilip Prameshwar (ed.) 2001. Alternative Modernities. Durham and London: DukeUniversity Press.Garritano, Carmela. 2008. “A new critical architecture for African grassroots cinemas: Nigerianvideo in Ghana, pirate economies and transnational media flows”. Paper presented to Society forCinema and Media Studies Conference, Philadelphia, 2008.Geschiere, Peter. 1997. The Modernity of Witchcraft: Politics and the Occult in PostcolonialAfrica. Charlotesville: University of Virginia Press.Geschiere, Peter; Meyer, Birgit; Pels, Peter. 2008. Reading in Modernity in Africa. Bloomington:Indiana University Press.216
Gilroy, Paul. 1987. There Ain't No Black in the Union Jack: the Cultural Politics of Race andNation. London: Hutchinson.Griaule, Marcel. 1975. Conversations With Ogotemmêli: An Introduction to Dogon ReligiousIdeas. Oxford: Oxford University Press.Guneratne, Anthony; Dissanayake, Wimal (eds). 2003. Rethinking Third Cinema. New York andLondon: Routledge.Guyer, Jane. 1997. Marginal Gains. Monetary Transactions in Atlantic Africa. Chicago:University of Chicago Press.---. 2007. “Prophecy and the near future: thoughts on macroeconomic, evangelical andpunctuated time”. American Ethnologist 34(3): 409 – 21.Gyekye. Kwame. 1987. An Essay on African Philosophical Thought: The Akan ConceptualScheme. Cambridge: Cambridge University Press.Hallam, Julia; Marshment, Margaret. 2000. Realism and Popular Cinema. Manchester:Manchester University Press.Hannerz, Ulf. 1987. “The world in creolisation”. Africa 57: 546 – 59.Hardy, Stacy. 2009. “Nollywood confidential”. In Nollywood, ed. Pieter Hugo. New York,London and Berlin: Prestel. 29 – 36.Harrow, Kenneth W. 2007. Postcolonial African Cinema: From Political Engagement toPostmodernism. Bloomington: Indiana University Press.Haynes, Jonathan 1995. “Nigerian cinema: Structural adjustments.” Research in AfricanLiteratures 26(3): 97-119.--- (ed.) 2000. Nigerian Video Films. Athens: Ohio University Press.---. 2002. “Devaluation and the video boom: Economics and thematics.” In Money, Strugglesand City Life: Devaluation in Ibadan and Other Urban Centres in Southern Nigeria, 1986-1996,eds. Jane I. Guyer, LaRay Denzer, and Adigun Agbaje. Portsmouth: Heinemann. 207 – 217.---. 2003. “Mobilizing Yoruba popular culture: Babangida Must Go.” Africa 73(1): 122 – 138.---. 2003b. “Africans abroad: A theme in film and video.” Africa & Mediterraneo 45: 22 – 29.---. 2006. “Political critique in Nigerian video films.” African Affairs 105(421): 511 – 533.---. 2007a. “Video boom: Nigeria and Ghana.” Postcolonial Text 3(2).http://journals.sfu.ca/pocol/index.php/pct/article/view/522/422 1-10.---. 2007b. “TK in NYC: An Interview with Tunde Kelani.” Postcolonial Text 3(2).http://journals.sfu.ca/pocol/index.php.pct/article/view/659/409. . 1-16.---. 2007c. “Nollywood: What’s in a name?” Film International 28(5.4): 106 – 108.217
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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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on the background, the sound of the
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profoundly condition the production
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Page 176 and 177: Nollywood abroad: Defining the hist
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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 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 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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