VIDEOS IN MOTION - fasopo

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industry, which in turns produce new forms of formalized circulation that affect the social andcultural significance of films themselves.While these are the dynamics the first section looks at, the second moves the focus towards theintangible aspects of videos’ circulation, and particularly towards the videos’ mobility throughoutdifferent regimes of discourse. The central questions here are: How do the industry and the films itproduces move within the realm of discourse? What are the effects of this mobility on filmsthemselves and on the way the industry transforms? As Couldry (2004) suggested, to analyze mediaas practice we need to look at the way people make sense of them and talk about them, becausethese discursive activities have important effects on the way media are produced, circulated andconsumed. The thesis that this section proposes is rather linear, and suggests that discursivepractices around media tend to have an accelerative effect on media themselves. To follow GregUrban (2001), whose work is a central reference for the second section, we can say that“metaculture” (that is, the culture about culture, the discourse about cultural production) influencescultural production by giving it an accelerative boost, something that ultimately produces atransformation in the cultural product itself.These transformations are the object of the last section. How does mobility impact on the films’aesthetics and narratives? How does it shape them? And how do the videos manage to move soeasily across cultural boundaries? Is there anything in their nature as cultural artifacts that makestheir mobility somehow easier? As this sections suggests, video films thematize mobility in manyways. On the one hand, they intrinsically represent it through their aesthetics and their narratives,which are themselves the result of countless contaminations. On the other, they often quiteexplicitly discuss issues related to mobility. But processes of contamination hardly have abeginning or an end. While they move, videos are subject to countless reformulations of theiraesthetic and narrative patterns. How then do these constantly reformulating aesthetics andnarratives help us in understanding the itineraries of mobility that videos incarnate and oftenthematize? How do they relate to experiences of migration, exile, displacement that so commonlydefine the life of the people that make and consume them outside Africa? Here rather than a linearor a circular interpretation, this section suggests a kind of rhyzomatic model. As the analysis ofNigerian video production in Europe suggests, the ways aesthetics and narratives transform whenvideos migrate to other contexts are extremely different and isolated from one another but at thesame time interconnected. In some ways they testify to the fragmented, deterritorialized experienceof the diaspora.38
Throughout the three sections that compose this dissertation the idea of mobility represents ametaphor of the contemporary globalized, hyper-connected world. But throughout the thesis thismetaphor is constantly interrogated. Often processes of globalization are looked at from European-American perspectives, from the centers of the (today probably weaker than ever before) Westernimperialism. How then can a non-Western cultural industry help us in interrogating processes ofglobalization and transnationalization? How do these processes work when their center of operationis based in a sub-Saharan African country?39
Page 2 and 3: Università degli Studi di Napoli
Page 4: P. 169 CHAPTER VII. Nollywood abroa
Page 8: owner or any of his friends. Once t
Page 12 and 13: Nollywood. From this analysis it tr
Page 14 and 15: phenomenon, affirming new aesthetic
Page 16: CHAPTER IDefining the field of enqu
Page 19 and 20: wave of young scholars interested i
Page 21 and 22: “Small screen cinema”: The hist
Page 23 and 24: villagers could assemble to watch
Page 25 and 26: content to an audience disappointed
Page 27 and 28: event that made the industry. While
Page 29 and 30: Pentecostal churches’ Sunday serv
Page 31 and 32: the essential heterogeneity, fluidi
Page 33 and 34: ) The social life of thingsWhen con
Page 35 and 36: the art or fashion market, is accel
Page 37: QuestionsNollywood, as a phenomenon
Page 41 and 42: who was shooting a video in those d
Page 43 and 44: The Nigerian video industry has lon
Page 45 and 46: CHAPTER IIRegulating mobility, resh
Page 47 and 48: The production crisisWhen the video
Page 49 and 50: distribution than the video format
Page 51 and 52: As Jora emphasizes through a number
Page 53 and 54: impact on the video industry’s ec
Page 55 and 56: systems of rules that regulate the
Page 57 and 58: (Meagher 2003: 59). Informal market
Page 59 and 60: distribution points for pirated goo
Page 61 and 62: conducted by the numerous artists'
Page 63 and 64: imperialism. In many cases the comb
Page 65 and 66: Governor Fashola seems to be losing
Page 67 and 68: CHAPTER III.From Nollywood to Nolly
Page 69 and 70: on the contrary tended to reduce th
Page 71 and 72: Emmanuel Isikaku, the president of
Page 73 and 74: you now have two distinct formation
Page 75 and 76: willingness to screen Nigerian film
Page 77 and 78: Paths of formalization (II): The di
Page 79 and 80: the United States and then in Ghana
Page 81 and 82: etween the video-boom era and the n
Page 83 and 84: will discuss further below, many of
Page 85 and 86: Nollywood is normally consumed, sho
Page 87 and 88: SECTION IITHE “NOLLYWOODIZATION
Page 89 and 90:
transnational reformulations of the
Page 91 and 92:
time, metaculture tends to develop
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CHAPTER IVWhen the Nigerian video i
Page 95 and 96:
Haynes’ skepticism about “name
Page 97 and 98:
production about the phenomenon sta
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epresent his national identity, bot
Page 101 and 102:
happened even if, as I will discuss
Page 103 and 104:
consciousness, but as the true, aut
Page 105 and 106:
is not. 84 This debate has often as
Page 107 and 108:
the world in our home videos is all
Page 109 and 110:
“Nollywood” and the Nigerian vi
Page 111 and 112:
Nigerian productions in English, ar
Page 113 and 114:
in terms of both the industrial inf
Page 115 and 116:
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
Page 140 and 141:
within Nollywood since the re-intro
Page 142 and 143:
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
Page 170 and 171:
emergence of diasporic and migrant
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Migrant and diasporic filmmaking ha
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distribution, a position that he de
Page 176 and 177:
Nollywood abroad: Defining the hist
Page 178 and 179:
Immigrant Eyes (2010) and Amazing W
Page 180 and 181:
the profits (image II). Furthermore
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while excluding others. To better d
Page 184 and 185:
As I mentioned above the work of GV
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created by the language barrier, an
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arena in which in most of the cases
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Afrocentric images from and of the
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version of “Afrocentric” tradit
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CONCLUSIONVideos’ mobility and Ni
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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
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FilmographyA Very Very Short Story
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L’industrie audiovisuelle au Ghan
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The Tenant. Dir. Onyekachi Ejim. Br
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Adesokan, Akin. 2004a. “How they
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Bazin, André. 1971. What is Cinema
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Eisenstadt, Shmuel N. 2000. “Mult
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---. 2007d. “Nnebue: The anatomy
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---. Forthcoming. “Karishika with
Page 222 and 223:
---. 2005. “Social capital or ana
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Oduko, O.A. 1980. “Kung Fu tips t
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Punathambekar, Aswin. 2005. “Boll
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---. 2000. “Images of the reel th
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Aihe, Okoh. 1997. “Video: farewel
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Lasisi. Akeem. 2009. “Tinsel bene
Page 234 and 235:
InterviewsAbulu, Tony (Nigerian dir
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Sandretti, Simone (Italian director
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