Search results for: Nollywood

Authors: Oluwayemisi Onyenankeya

Abstract:

The popularity and viewership of Nollywood films have expanded across African countries as well as European and American cities especially those with considerable Diaspora population. This appears to underscore the assumption that Nollywood films not only project or transmit the embedded Nigerian cultural values to audience members but also actually make appreciable impression on those audience members. This study sought to ascertain the role of Nollywood film in the transference of Nigerian cultural heritage across other cultures using students at the University of Fort Hare as a case study. This study sought to determine if audience members learn, imbibe or manifest any behavioural tendencies that can be ascribed to the influence of watching Nollywood films. Specifically, the study sought to establish the aspect of Nigerian culture that Nollywood films transmit to audience members. The survey research method was used while data was analysed using descriptive statistics. In all, 400 questionnaires were distributed while 370 were returned. Results show that students who were exposed to Nollywood film could mimic some common Nigerian expressions and exclamations. A small percentage of viewers could actually speak a smattering of some Nigerian language while a few have bought or made dresses in the pattern of what they saw in the films. It could be concluded that Nollywood films do exert significant influence on the viewers in the University of Fort Hare.

Keywords: culture, film, Nollywood, transmission

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Authors: Ojinime E. Ojiakor, Allen N. Adum

Abstract:

We report on bed scenes allurement as entertainment and selling point in Nigeria’s Nollywood movie industry. In recent times, there has been an increase in the portrayal of bed scenes in Nollywood movies. Before now, Nigerian film producers have been very conservative when it comes to showing sex and nudity. This appears to have changed in line with global trends. Movie industries all over the world appear a haven for delectable women who glamorize our screens, not only with their beauty but also their acting skills. At Hollywood, Bollywood, Ghollywood and the like, pretty actresses with sensuous endowments engage in bed scenes which allure the minds of viewers. The idea that, a ravishing beauty on cast is as good as a box office hit apparently drives Nigerian film producers to incorporate bed scenes in their movies. In this era of sex crusade where what sells is sex and maybe a little bit of violence, there is the suggestion that producers believe that if the talent of an actress doesn’t do the trick, the sexiness she exudes is bound to get attention. Against this backdrop, our study examined bed scenes depiction by Nollywood films, in an attempt to establish if their allurement influences the choice of movie and purchase decisions of target markets. We assessed Nollywood films and viewer preference using the mixed method approach. Our findings reveal that bed scenes, as portrayed in Nigerian movies are a significant determinant of which films to watch and which films to purchase among the respondents studied.

Keywords: allurement, bed scenes, nollywood, selling point

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Authors: Ezinne M. Igwe

Abstract:

Statements of facts have been made about Nollywood, a segment of the Nigerian film industry that has in recent times become phenomenal due largely to its quantity of production and specific production style. In the face of recent transformations reshaping the industry, matters have been arising which have not been given due academic attention from an industry player perspective. While re-addressing such issues like structure, policy and informality, this study benefits from a new perspective – that of a community member adopting participant observation to research into a familiar culture. With data drawn from an extensive ethnographic study of the industry, this paper examines these matters with an emphasis on structure and the industry’s overall political economy. Drawing from discourses on the new and old Nollywood labels and other current matters arising within the industry such as the MOPICON bill redraft, corporate financing and possibilities of regeneration, this paper examines structure and power struggle within Nollywood. These are championing regenerative processes that bring about formalization, professionalism and the quest for a transnational presence, which have only been superficially evaluated. Focused essentially on Nollywood’s political economy, this study critically analyses the transforming face of an informal industry, the consistent quest for structure, quality and standard, and issues of corporate sponsorship as possible trends of regeneration. It evaluates them as indicators of regeneration, questioning the possibilities of their sustenance in an industry experiencing increased interactions with the formal economy and an influx of young professionals. With findings that make sustained regeneration both certain (due to increased formal economy interaction) and uncertain (due to the dysfunctionality of the society and its political system), it concludes that the transforming face of the industry suggests impending gentrification of the industry.

Keywords: formalisation, MOPICON, Nollywood, structure

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Authors: Samuel Onyije Igbedion

Abstract:

The Nigerian film industry, commonly known as Nollywood, has grown to become the second largest in the world in terms of the volumes of films produced. Many scholars have argued that the themes in most Nollywood films do not let themselves to the issue of film-induced tourism, which can be used to improve tourism in Nigeria and the economy at large. This study, therefore, seeks to examine the validity of this statement in the context of one film that attempts to address the issue. This paper examines the features of tourism-induced films to determine if tourism-inducing themes were used in the film and how they were used in order to confirm or refute the thesis statement. The agenda-setting theory of the media underpinned the study. A qualitative research approach was adopted and content analysis was used to review literature from relevant secondary sources that determined the content criteria, which was then used to analyze the film. The findings reveal that the filmmakers of Up North (2018) did feature themes and scenes that promoted tourism through the use and filming of exotic scenery. It also revealed that the film introduced these tourism-inducing features of the north through the setting, the storyline, the choice of locations and chosen shot types. The study concludes that the prominent and intentional featuring all of these beautiful scenery, history, culture, adventure activities and personalities point to a deliberate attempt at convincing the audiences of the tourist potential of Nigeria. Thus, the validity of the statement does not apply to the film Up North (2018).

Keywords: film-tourism, nollywood, agenda-setting theory, filmmaking, culture

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Authors: Mary Okocha

Abstract:

Over the past two decades, since it came into existence, the Nigerian film industry, also known as Nollywood, has taken a global phenomenon and is reckoned with by most Africans at home or in Diaspora. The themes portrayed in these movies are supposedly made to reflect the social, cultural, economic and religious situations prevalent in Nigeria as well as most African countries. Stories are especially effective in cultural processes because they involve audiences by entertaining them and by challenging them to make sense of the story's symbolic meaning. Using two Nigerian movies, Mammi and Arugba, this paper aims at critically examining the pressures that society places on the Nigerian female and how this same society fails to lend a helping hand in making this possible, but rather turns back to heap blames and question the virtues of the females if, on the long run, these expectations are not met inconsiderate of the circumstances that stood in their ways and how these pressures have stood against the progress of the Nigerian woman. Furthermore, female respondents will be randomly selected and their opinions will be sorted through questionnaires to see what they feel could be done to help in overcoming these challenges and how the movie industry can help in repositioning the Nigerian woman.

Keywords: Nollywood, Nigerian films, audiences, Nigerian woman, Nigerian society, female respondents, repositioning women, societal pressures

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Authors: Lawrence Akande

Abstract:

Despite the efforts of African countries' governments and the foreign countries' governments, there are cautions between the people of Africa and the people of other countries. The cautions are based on the ideology of misconception, which comes from the narratives about Africa and African people and narratives about other people also. The film is a medium of educating people about people from foreign countries they have never been to. Negative or misconceived narratives about a people will affect the relations between the peoples, despite the efforts of the government. Using pop-culture medium of film as a diplomatic tool will promote mutual understanding and respect.

Keywords: film diplomacy, international relations, narratives, Nollywood, partnership

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Authors: Randall Gray Underwood

Abstract:

Within the past few decades, zombie cinema has evolved from a niche outgrowth of the horror genre into one of the most widely-discussed and thoroughly-analyzed subgenres of film. Rising to international popularity during the 1970s and 1980s following the release of George Romero’s landmark classic, Night of the Living Dead (1968), and its much-imitated sequel, Dawn of the Dead (1978), the zombie genre returned to global screens in full force at the turn of the century following earth-shattering events such as the 9/11 terrorist attacks, America’s subsequent war in the Middle East, environmental pandemics, and the emergence of a divided and disconnected global populace in the age of social media. Indeed, the presence of the zombie in all manner of art and entertainment—movies, literature, television, video games, comic books, and more—has become nothing short of pervasive, engendering a plethora of scholarly writings, books, opinion pieces, and video essays from all manner of academics, cultural commentators, critics, and casual fans, with each espousing their own theories regarding the zombie’s allegorical and symbolic value within global fiction. Consequently, the walking dead of recent years have been variously positioned as fictive manifestations of human fears of societal collapse, environmental contagion, sexually-transmitted disease, primal regression, dwindling population rates, global terrorism, and the foreign “Other”. Less commonly analyzed within film scholarship, however, is the connection between the zombie’s folkloric roots and native African/Haitian spiritual practice; specifically, how this connection impacts the zombie’s presentation in African films by native storytellers versus in similar narratives told from a western perspective. This work will examine the unlikely connections and contrasts inherent the portrayal of the traditional African/Haitian zombie (or zombi, in Haitian French) in the Nollywood film Witchdoctor of the Livingdead (1985, Charles Abi Enonchong) versus its depiction in the early Hollywood films White Zombie (1932, Victor Halperin) and I Walked with a Zombie (1943, Jacques Tourneur), through analysis of each cinemas’ use of the zombie as a visual metaphor for subjugation/slavery, as well as differences in their representation of the the spiritual folklore from which the figure of the zombie originates. Select films from the post-Night of the Living Dead zombie cinema landscape will also warrant brief discussion in relation to Witchdoctor of the Livingdead.

Keywords: Nollywood, Zombie cinema, Horror cinema, Classical Hollywood

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