VIDEOS IN MOTION - fasopo

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I would say that Nollywood needs this phase, I don't think it would be permanent […] Ihope I'm not being too optimistic, but I believe that this is a phase which the entireentertainment sector has to pass through, a process to filter off the negative elementsthat blocked the industry. I see a proliferation of cinema in the next 3-4 years, and therewill be more affordable cinemas as there are everywhere in the world. There are toomany stories to tell, too much demand to restrict the potential of the films, andhopefully this phase that we are seeing is only a necessary phase that would bring us toa next step. We would be able to discover technologies that will help us combat piracybetter […] and I think that in 3-4 years we will have technologies in place, laws in placethat will make films again more accessible (Babatope 2010).86
SECTION IITHE “NOLLYWOODIZATION” OF THE NIGERIAN VIDEO <strong>IN</strong>DUSTRYDiscursive constructions, processes of commoditization and the industry’s transformationsIntroductionDuring the first year of my PhD research, and before beginning the fieldwork in Nigeria, Iattended a number of conferences and seminars on Nollywood. I thought this was a good way tobecome more familiar with the topic and to have a picture of Nollywood studies’ state of the art.Unexpectedly the experience of attending these conferences also guided my attention towardanother important dimension of the video phenomenon that later became particularly important inmy work. I realized the importance of the discursive mobility of the Nigerian video industry and theimpact this circulation has had on the industry’s recent transformations. A short digression into twoepisodes that occurred to me during the early stages of my research is useful to introduce theargument that I will develop in the next two chapters.87
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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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Page 37 and 38: QuestionsNollywood, as a phenomenon
Page 39 and 40: Throughout the three sections that
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
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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
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Page 85: Nollywood is normally consumed, sho
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Page 93 and 94: CHAPTER IVWhen the Nigerian video i
Page 95 and 96: Haynes’ skepticism about “name
Page 97 and 98: production about the phenomenon sta
Page 99 and 100: epresent his national identity, bot
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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
Page 117 and 118: and on children selling snacks alon
Page 119 and 120: To give their films a plot, many do
Page 121 and 122: Within this context it might be imp
Page 123 and 124: epresent the industry are those tha
Page 125 and 126: What seems to be the major challeng
Page 127 and 128: Amongst the numerous festivals that
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Page 131 and 132: It is important to underline here t
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Page 135: 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
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while excluding others. To better d
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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
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industry. This shift is provoking i
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authoring than our ideology and our
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the audience to interrogate the fil
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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
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---. 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
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InterviewsAbulu, Tony (Nigerian dir
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Sandretti, Simone (Italian director
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VIDEOS IN MOTION - fasopo

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