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---. 2007d. “Nnebue: The anatomy of power.” Film International 28(5.4): 30 – 40.---. 2007e. “Nollywood in Lagos, Lagos in Nollywood films.” Africa Today 54(2): 130 – 150.---. 2008. “Nigerian videos, at home and abroad.” In Global Civil Society 2007/8:Communicative Power and Democracy. Eds. Martin Albrow et al.. London: Sage. 204 – 207.---. 2010a. “A literature review: Nigerian and Ghanaian videos”. Journal of African CulturalStudies 22(1): 105 – 120.---. 2010b. “What is to be done? Film studies and Nigerian and Ghanaian videos”. 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. 11 – 26.---. Forthcoming. “The Nollywood diaspora. A Nigerian video genre.” In Global Nollywood:Transnational Dimensions of an African Video Film Industry, eds. Matthias Krings and OnookomeOkome. Bloomington: Indiana University Press.---. Forthcoming a. “Preface to Kunle Afolayan.” In Araromire: Critical Perspectives, ed.Adeshina Afolayan. ---- (Publisher unknown). 1 – 4.Haynes, Jonathan; Okome, Onookome. 1998. “Evolving popular media: Nigerian video films.”Research in African Literatures 29(3): 106 – 28.Hell, Julia; Schönle, Andreas (eds.) 2010. Ruins of Modernity. Durham and London: DukeUniversity Press.Himpele, Jeff D. 1996. “Film distribution as media: Mapping difference in the Boliviancinemascape”. Visual Anthropology Review 12(1) : 47 – 66.---. 2008. Circuits of Culture: Media, Politics, and Indigenous Identity in the Andes.Minneapolis: University of Minnesota Press.Hountondji, Paulin. 1983. African Philosophy: Myth and Reality. Bloomington: IndianaUniversity Press.---. 2002. The Struggle for Meaning. Reflections on Philosophy, Culture, and Democracy inAfrica. Athens: Ohio University Press.Huggan, Graham. 2001. The Post-Colonial Exotic. Marketing the Margins. New York andLondon: Routledge.Hugo, Pieter. 2007. The Hyena and Other Men. New York, London and Berlin: Prestel.--- . 2009. Nollywood. New York, London and Berlin: Prestel.Ibitola, Biodun. 2008. “Marketing and distribution of video films in Nigeria”. In Africa Throughthe Eye of the Video Camera, ed. Foluke Ogunleye. Manzini: Academic Publishers. 51 – 56.218
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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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“experienced in ‘reading’ and
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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 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 216 and 217: Eisenstadt, Shmuel N. 2000. “Mult
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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