VIDEOS IN MOTION - fasopo

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Aihe, Okoh. 1997. “Video: farewell to a year of pain and penury”. The Vanguard, 25 January1997: 25.Anyaogu, Isaac. 2010. “Nollywood through Pieter Hugo’s lens”. Posted on the blog Nollywverseon the 19 April 2010. Available on line at http://zikerius.wordpress.com/2010/04/19/nollywoodthrough-pieter-hugo%E2%80%99s-lens/accessed the 21/10/11.Aragba-Akpore, Sonny; Adepetun, Adeyemi. 2010. “Africa occupies bottom chart of globalinternet connectivity. Nigeria shows promises”. The Guardian Nigeria, 10 February 2010: 25 – 27.Ayorinde, Steve. 1997. “Video rage and money rake”. The Guardian Nigeria, 2 January 1997:25.---. 1999. “Video and celluloid... a homeboy shoots up abroad.” The Guardian Nigeria, 28January 1999: 47.---. 2004a. “Back from Berlin, Didi talks real film”. The Punch, 5 March 2004: 41.---. 2004b. “African cinema in worldview”. The Punch, 26 May 2004: 54.---. 2005. “From Berlin , new dawn for African cinema”. The Punch, 25 February 2005: 50.---. 2006. “Made-in-China films beat Nollywood in world ranking”. The Punch, 21 September2005: 3---. 2007. “Nollywood leaps to London’s forefront”. The Punch, 28 September 2007.Awoyinfa, Sam. 2009. “Nudging Nollywood on quality and quantity”. The Punch, 14 June 2009:39.Azuah, Unoma. 2008. “The near nullity of Nollywood”. The Vanguard, 24 February 2008: 47.Balogun, Ishola. 2010. “With FameCorp, artists will earn more, says Tee Mac”. The Vanguard,21 Febbruary 2010.Balogun, Ola. 2001a. “Does Nigeria have a film industry?”. The Vanguard, 6 May 2001.---. 2001b. “Production in Nigerian film and the problems of distribution”. The GuardianNigeria, 8 September 2001: 31, 33.---. 2005a. “Don’t envy the South Africa: A rejoinder”. The Guardian Nigeria, 13 March 2005.---. 2005b. “What Nigeria must do to have a film industry”. Thisday, 20 August 2005: 32.Bumah, Juliet. 2009a. “Is Nollywood the second biggest film producing nation? Stakeholdersreact to UNESCO's film industry survey”. The Punch, 13 May 2009: 40.---. 2009b. “Sales dip for Nollywood as outrages worsen. Retrogression in power supply furthercompounds woes in the Nigerian film industry”. The Punch, 22 July 2009: 62.Ebere, Reginald. 2011. “The new Nollywood”. The National Daily, 12 March 2011.Ekunno, Mike. 2011. “Nollywood and the new cinema”. Next, 2 January 2011.230
Ezigbo, Onyebuchi. 2006. “Anti-Cyber operators threaten movie pirates”. Thisday, 30 April2006.Ewelukwa-Ofodile, Uche. 2010. “Intellectual property rights: Time for an honest debate”. TheGuardian Nigeria, 9 April 2010.Husseini, Shaibu. 2000. “Steady march of Nigerian movie abroad”. The Guardian Nigeria, 10February 2000: 44.---. 2005. “Where is the N100 million fund for movie?”. The Guardian Nigeria, 6 January 2005:52.---. 2006. “Nigerian filmmakers at Cannes feast”. The Guardian Nigeria, 26 May 2006: 36.---. 2009. “Nollywood 2008: Stuck in the middle of nowhere”. The Guardian Nigeria, 23January 2009: 24 – 25.Ilevbare, Justice. 2008. “Homecoming for Hollywood star”. Thisday, 5 January 2008.Iroh, Eddie. 2009. “Nollywood, Nolly What?” Thisday, 25 May 2009.Iwenjora, Fred. 2003a. “My Holland experience – Lancelot”. The Vanguard, 15 February 2003:17.---. 2003b. “Why I promote Nigerian movies in Europe – Izoya”. The Vanguard, 13 September2003: 21.---. 2004a. “Government must support the movie industry now – Izoya”. The Vanguard, 21February 2004: 17.---. 2004b. “Eddie Ugbomah speaks on Black Gold”. The Vanguard, 13 March 2004: 16.---. 2005. “No Nigeria movie maker for Berlin film festival”. The Vanguard, 22 January 2005:19.Jayawardane, Neelika. 2010. “Pieter Hugo’s Nollywood”. Posted on the blog Africa is a countryon the 24 September 2010. Available on line at: http://africasacountry.com/2010/09/24/hardlypieter-hugo%E2%80%99s-nollywood/accessed on the 21/10/11.Jeyifo, Biodun. 2009. “Will Nollywood get better? Did Hollywood and Bollywood get better?(7)”. Talakawa Liberation Courier No. 81, The Guardian Nigeria, 22 February 2009.Jideonwo, Chude. 2006. “Has Nollywood become Nothinghood so soon? ...Anxiety of a formerfan”. The Guardian Nigeria, 8 October 2006: 46.Jora, Fred. 2007. “The big rip-off. How Nollywood films are shown on net free of charge...Europe based stakeholders cry foul”. The Vanguard, 27 October 2007: 20.Krohe, Dialika. 2010. “Nigeria’s silver screen. Nollywood’s film industry second only toBollywood in scale”. Der Spiegel, 23 April 2010.231
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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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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 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 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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