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---. 2005. “Social capital or analytical liability? Social networks and African informaleconomies”. Global Networks 5(3): 217 – 238.Mercer, Kobena. 1988. “Diaspora culture and the dialogic imagination: The aesthetics of blackindependent film in Britain”. In Blackframes. Critical Perspective on Black Independent Cinema,ed. Mbye Cham and Claire Andrade-Watkins. Cambridge: MIT Press. 50 – 61.Merleau-Ponty, Maurice. 1968. The Visible and the Invisible. Evanston: Northwestern UniversityPress.Meyer, Birgit. 1998. “The power of money: Politics, occult forces, and pentecostalism inGhana.” African Studies Review 41(3): 15 – 37--- 1999. “Popular Ghanaian cinema and “African Heritage.”’ Africa Today 46(2): 93 – 114.--- 2001. “Money, power, and morality: Popular Ghanaian cinema in the Fourth Republic.”Ghana Studies 4: 65 – 84.--- 2002a. “Occult forces on screen: Representation and the danger of mimesis in popularGhanaian films.” Etnofoor 15(1/2): 212 – 221.--- 2002b. “Pentecostalism, prosperity and popular cinema in Ghana.” Culture and Religion3(1): 67 – 87.--- 2003. “Ghanaian popular cinema and the magic in and of film.” In Magic and Modernity:Interfaces of Revelation and Concealment, eds. Birgit Meyer and Peter Pels. Stanford: StanfordUniversity Press. 200 – 222.--- 2004. “‘Praise the Lord’: Popular cinema and pentecostalite style in Ghana’s new publicsphere.” American Ethnologist 31(1): 92 – 110.--- 2005. “Mediating tradition: Pentecostal pastors, African priests and chiefs in Ghanaianpopular films.” In Christianity and Social Change in Africa: Essays in Honor of John Peel, ed.Toyin Falola. Durham: Carolina Academic Press. 275 – 304.--- 2006a. “Impossible representations: Pentecostalism, vision, and video technology in Ghana.”In Religion, Media, and the Public Sphere, eds. Birgit Meyer and Annelies Moors. Bloomington:Indiana University Press. 290 – 312.--- 2006b. “Prayers, guns and ritual murder: Power and the occult in Ghanaian popular cinema.”In The Power of the Occult in Africa, ed. Jim Kiernan. Berlin: LIT Verlag. 182 – 205.---. 2008. “Powerful pictures. Popular protestant aesthetics in southern Ghana”. Journal of theAmerican Academy of Religion 76(1): 82 – 110.---. 2010. “Tradition and color at its best’: ‘Tradition’ and ‘heritage’ in Ghanaian video-movies”.Journal of African Cultural Studies 22(1): 7–23.222
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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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and stable moral constituency whose
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emergence of diasporic and migrant
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Page 180 and 181: the profits (image II). Furthermore
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Page 184 and 185: As I mentioned above the work of GV
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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 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 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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