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Oduko, O.A. 1980. “Kung Fu tips the balance from Indian to Chinese films”. NigerianTelevision Quarterly 4: 18 – 24.Odukomaiya, Segun. 2005. Television and Film Drama Production and Presentation in Nigeria[1900 – 2002]. Abeokuta: Link Publication.Ofeimun, Odia. 2003. “In defense of the films we have made.” (Keynote address at the SecondNational Film Festival, Lagos, 27 November, 2003). West Africa Review 5.http://westafricareview.com/issue5/ofeimun.htm.Ogundele, Wole. 2000. “From folk opera to soap opera: Improvisations and transformations inYoruba popular theatre”. In Nigerian Video Films, ed. Jonathan Haynes. Athens: Ohio UniversityPress. 88 – 130.Ogundimu, Folu. 2009. “African video, film cinema, and cultural repackaging in the diaspora”.In The New African Diaspora, eds. Isidore Okpewho and Nkiru Nzegwu. Bloomington: IndianaUniversity Press.Ogunleye, Foluke (ed.) 2003. African Video Film Today. Manzini: Academic Publishers.---. (ed.) 2008. Africa Through the Eye of the Video Camera. Manzini: Academic Publishers.Oha, Obododimma. 2000. “The rhetoric of Nigerian Christian videos: The war paradigm of thegreat mistake.” In Nigerian Video Films, ed. Jonathan Haynes, Athens: Ohio University Press. 192-199.---. 2001. “The visual rhetoric of the ambivalent city in Nigerian video films.” In Cinema andthe City, eds. Mark Shiel and Tony Fitzmaurice. Oxford: Blackwell. 195 – 205.---. 2002. “Yoruba Christian video narrative and indigenous imaginations: Dialogue andduelogue.” Cahiers d’Études africaines 165(XLII.1): 121 – 142.Okome, Onookome. 1997. “The character of popular indigenous cinema in Nigeria.” In Cinemaand Social Change in West Africa, eds. Onookome Okome and Jonathan Haynes. Jos, Nigeria:Nigerian Film Corporation (Second Edition). 92 – 109.--- 2000a “Onome: Ethnicity, class, gender.” In Nigerian Video Films, ed. Jonathan Haynes,Athens: Ohio University Press. 148– 164.--- 2000b. “Naming, suffering and women in Nigerian video films: Notes on the interview withEmem Isong.” Nduñode: Calabar Journal of Humanities 3(1): 43-56.--- 2004a. “Writing the anxious city: Images of Lagos in Nigerian home video films.” In UnderSiege: Four African Cities. Freetown, Johannesburg, Kinshasa, Lagos, eds. Okwui Enwezor et al.Ostfildern-Ruit: Hatjie Cantz Publisher. 315 – 336.--- 2004b. “Women, religion and the video film in Nigeria.” Film International 7(1): 4 – 13.224
---. 2007a. “Introducing the special issue on West African cinema: Africa at the movies.”Postcolonial Text 3(2). http://journals.sfu.ca/pocol/index.php/pct/article/view/766/433. 1-17.--- 2007b. “Nollywood: Spectatorship, audience and the sites of consumption.” Postcolonial Text3(2). http://journals.sfu.ca/pocol/index.php/pct/article/view/763/425. 1-21.--- 2007c. “‘The message is reaching a lot of people’: Proselytizing and video films of HelenUkpabio”. Postcolonial Text 3(2). http://journals.sfu.ca/pocol/index.php/pct/article/view/750/419.1-20.--- 2007d. “Editorial.” Film International 28(5.4): 4 – 8.---. 2010. “Nollywood and its critics”. In Viewing African Cinema in the Twenty-first Century:FESPACO Art Films and the Nollywood Video Revolution, eds. Ralph Austen and Mahir Saul.Athens: Ohio University Press. 26 – 41.Okome, Onookome; Haynes, Jonathan. 1995. Cinema and Social Change in West Africa. Jos:Nigerian Film Corporation.Olukoju, Ayodeji. 2004. “‘Never expect power always’: Electricity consumers’ response tomonopoly, corruption and inefficient services in Nigeria”. African Affairs 103: 51 – 71.Ondego, Ogova. 2005. “Le Kenya sous dépendence”. In Nollywood: Le phénomène video auNigeria, ed. Pierre Barrot. Paris: L’Harmattan. 117 – 122.Oni, Duro. 2010. “Lighting beyond illumination – Inaugural Lecture Series 2010”. Lagos: LagosUniversity Press.Osofisan, Femi. 2006. “From Nollywood to Nollyweight? Or, reflections on the possibilities ofliterature and the burgeoning film industry in Nigieria.” Keynote Address, Sixth ITPAN Forum,Lagos, 6 July. http://www.africultures.com/index.asp?menu=affiche_article&no=4533.Piot, Charles. 1999. Remotely Global: Village Modernity in West Africa. Chicago: ChicagoUniversity Press.---. 2010. Nostalgia for the Future: West Africa after the Cold War. Chicago: Chicago UniversityPress.Prasad, Madhava. 2008. “Surviving Bollywood”. In In Global Bollywood, eds. Anandam P.Kavoori and Aswin Punathanbekar. New York: New York University Press. 41 – 51.Pype, Katrien. Forthcoming. “Religion, migration and media aesthetics: Notes on the circulationand reception of Nigerian films in Kinshasa.” In Global Nollywood: Transnational Dimensions ofan African Video Film Industry, eds. Matthias Krings and Onookome Okome. Bloomington:Indiana University Press.225
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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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Migrant and diasporic filmmaking ha
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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
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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
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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 222 and 223: ---. 2005. “Social capital or ana
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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