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---. 2000. “Images of the reel thing: African video-films and the emergence of a new culturalArt.” Social Identities 6(3): 237 – 240.---. 2003. “Video booms and the manifestations of ‘First’ Cinema in Anglophone Africa.” InRethinking Third Cinema, eds. Anthony R. Guneratne and Wimal Dissanayake. New York andLondon: Routledge. 127 – 143UNESCO Institute for Statistics [UIS]. 2009. Analysis of the UIS International Survey onFeature Film Statistics. Montreal: UIS. Available on line athttp://www.uis.unesco.org/culture/Documents/Infosheet_No1_cinema_EN.pdf. 1 – 15.Urban, Greg. 2001. Metaculture: How Culture Moves Through the World. Minneapolis:University of Minnesota Press.van Binsbergen, Wim. 2005. “Commoditization: Things, agency and identities. Introduction”. InCommoditization: Things, Agency and Identities (The Social Life of Things Revisited), eds. Wimvan Binsbergen and Peter Geschiere. Monaco: LIT Verlag. 9 – 52.Vasudevan, Ravi. 2010. The Melodramatic Public: Film Form and Spectatorship in IndianCinema. New Delhi: Permanent Black.Waterman, Christopher Alan. 1990. Juju: A Social History and Ethnography of an AfricanPopular Music. Chicago: Chicago University Press.Wendl, Tobias. 2001. “Visions of modernity in Ghana: Mami Wata shrines, photo studios andhorror films.” Visual Anthropology 14(3): 269 – 292.---. 2007. “Wicked villagers and the mysteries of reproduction: An exploration of horror moviesfrom Ghana and Nigeria.” Postcolonial Text 3(2).http://journals.sfu.ca/pocol/index.php/pct/article/view/529/420>. 1-21.Williams, Linda. 1998. “Melodrama revised”. In Refiguring American Film Genres: Theory andHistory, ed. Nick Browne. Berkeley: University of California Press: 42 – 88.Wiredu, Kwasi. 1996. Cultural Universals and Particulars: An African Perspective.Bloomington: Indiana University Press.Wittgenstein, Ludwig. 1986 (1953). Philosophical Investigation. Oxford: Blackwell.Yar, Majid. 2005. “The global 'epidemic' of movie 'piracy': Crime-wave or social construction?”Media, Culture and Society 27(5): 677 – 696.Zeleza, Paul Tiyambe. “Rewriting the black diaspora: Beyond the Black Atlantic”. AfricanAffairs 104(414): 35 – 68.228
Newspaper and blog articlesAbulu, Tony. 2010b. “Nollywood... Unending search for lifeline”. The Guardian Nigeria, 17February 2010.Adamu, Abdalla Uba. 2011. “The Hausa video film industry: A brief introduction”.TMCBoxoffice Magazine Nov/Dec 2011: 34 – 36.Adelakun, Abimbola. 2009a. “It's Indian, but in Yoruba tongue”. The Punch, 11 February 2009:41.--- 2009b. “Gradually, the cinemas return in Nigeria”. The Punch, 18 February 2009: 58.Adeleke. Kazeem; Oresegun, Funso. 1998. “Behind home videos on TV”. Thisday, 19 June1998: 35.Adenugba, Olushola Oladele. 2007. “Nollywood: A name and an industry”. Film in Nigeria: Ablog on the Nigerian film industry. Posted on Wednesday, May 9. Accessed on the 9 th of November2011.Agbedo, Onyedika. 2009. “We want to create a well-structured film industry in Nigeria –Interview with Emeka Mba”. The Guardian Nigeria, 21 March 2009: 39.Akaeze, Anthony. 2011. “Pounded yam and egusi in Germany”. Available on line at:http://www.igbofocus.co.uk/html/igbo_foods.html, accessed 12/10/11.Akande, Victor. 2009. “Nollywood and the new factor called premiere”. The Nation, 19December 2009.Akpovi-Esade, Justin. 2008. “Film marketers seek legal succour against censors board's policy”.The Guardian Nigeria, 7 August 2008: 80.---. 2009. “Movie marketers shelve picketing, to dialogue with censors' board”. The GuardianNigeria, 4 February 2009.Akpovi-Esade, Justin; Onyedika, Nkechi. 2006. “Nollywood too important to be ignored, saysObasanjo”. The Guardian Nigeria, 24 November 2006.Ajeluorou, Anote. 2009. “Emeka Mba: We need institutional structure to move Nollywoodforward – Interview with Emeka Mba”. The Guardian Nigeria, 29 August 2009: 26.Ajiboye, Bunmi. 2011. “Relentless ready for cinema run”. Next, 30 July 2011.Ajirire, Tosin. 2000. “How I pioneered video CD in Nigeria – Ken Hero”. National Concord, 15July 2000: 17.---. 2007. “Nollywood comes alive as Obasanjo commissions Studio Tinapa”. The Sun, 7 April2007.229
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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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distribution, a position that he de
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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
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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 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 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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