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Lasisi. Akeem. 2009. “Tinsel benefited from specialisation and collaboration – FemiOdugbemi”. The Punch, 25 January 2009.Leu, Bic. 2010. “Tunde Kelani looks to reinvent Nollywood”. Next, 5 December 2010.---. 2011. “Nollywood goes for new models to curb piracy”. The Guardian Nigeria, 14 January2011.McCain, Carmen. 2011. “Nollywood and its terminology migraines”. Weekly Trust, 30 July2011.Mentor, Chidi; Kolawole, Abel. 2000. “We don’t have a film industry – Ugbomah”. TheVanguard, 29 January 2000: 19.Mackay, Mairi. 2009. “Nollywood loses half of film profits to piracy, say producers”. CNNEnterteinment, 24 June 2009, available at http://articles.cnn.com/2009-06-24/entertainment/nollywood.piracy_1_nollywood-piracy-film-industry?_s=PM:SHOWBIZ.Muchimba, Helen. 2004. “Nigerian Films light Zambian Screen”. BBC World Service Focus onAfrica, 23 September 2004.Njoku, Benjamin. 2008. “Controversy. NFCVB verses Nollywood: Who wins the battle?” TheVanguard, 17 August 2008: 48.---. 2009a. “Nollywood is dying. Interview with Francis Onwochei”. The Vanguard, 21 February2009: 36.---. 2009b. “Distribution Framework: We made mistakes – Interview with Emeka Mba, DG ofCensors Board”. The Vanguard, 14 March 2009: 22 – 23.---. 2009c. “‘We are not responsible for Nollywood's woes’ – Interview with Biola Alabi, M-NetMD”. The Vanguard, 15 August 2009: 26---. 2009d. “Nollywood rocks Canada”. The Vanguard, 29 th of August 2009: 26.Novia, Charles. 2005. “Does Dr. Balogun know?” The Guardian Nigeria, 27 March 2005: 56.---. 2007. “In defence of Nollywood”. Thisday, 4 March 2007: 86.Nuabuikwu, Onoshe. 2010. “Nollywood: who is marginalising the Igbos?” The Punch, 30 April2010.Nwanne, Chuks. 2009. “The Figurine... Afolayan's new cine-baby warms the world”. TheGuardian Nigeria – Life Magazine, 22 December 2009.Nzeh, Sam. 2009. “Nollywood: New ranking, persisting challenges”. Daily Champion, 16 May2009: 38.O’Hagan, Sean. 2008. “Africa as you’ve never seen it”. The Guardian United Kingdom, 20 July2008.232
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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
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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 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 234 and 235: InterviewsAbulu, Tony (Nigerian dir
Page 236: Sandretti, Simone (Italian director
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