scholarly journals Nationalism from Below: State Failures, Nollywood, and Nigerian Pidgin

2021 ◽  
Vol 1 (1) ◽  
pp. 87-112
Author(s):  
Jonathan Haynes
Keyword(s):  
National Culture ◽  
Informal Sector ◽  
Film Industry ◽  
Transnational Corporations ◽  
African Unity ◽  
Feature Film ◽  
Pan African ◽  
Nigerian Film ◽  
New Distribution ◽  
Cultural Force

The Nigerian film industry known as “Nollywood” was shaped (and even created) by profound weaknesses of the Nigerian state, but it inherited and carried forward one of the state’s major accomplishments: the creation of a national culture on and through television. This mission was reinterpreted in the context of a low-budget feature-film industry grounded in the informal sector of the economy. Twenty-five years on, governmental failures continue to structure the industry, even as new distribution technologies and the transnational corporations that have entered with them have created a whole new sector of production alongside the original one and have fractured the audience along class lines, adding to original linguistic and cultural divisions. Still, through its storytelling, Nollywood remains a powerful unifying cultural force on the national and Pan-African levels. In this context, Nigerian Pidgin is more important than ever as a linguistic medium of communication and as a symbol of national, regional, and Pan-African unity and communicability.

Nollywood Afrogeeks

2016 ◽  
Vol 7 (3) ◽  
pp. 49-64 ◽  
Author(s):  
Tori Arthur
Keyword(s):  
United States ◽  
Cultural Values ◽  
Film Industry ◽  
African Immigrants ◽  
The United States ◽  
African Continent ◽  
Digital Community ◽  
Online Platforms ◽  
Pan African ◽  
Nigerian Film

Viewing Nigerian film, known as Nollywood, in online platforms provides African immigrants living in the United States with digital spaces to engage with the African continent through films with relatable Pan-African themes. Nollywood on social media sites (YouTube and subscription services IrokoTV, Amazon, and Netflix) marks the Nigerian film industry as a transnational participatory movement that enables immigrants to use the technology at their disposal to watch and comment on films, connect with their cultural values, and become a part of a global digital community of dispersed Africans and African descended populations. Thus, immigrants become a part of a Nollywood focused digital diaspora, a cultural space that illuminated the plurality immigrants negotiate on and off the continent.

scholarly journals Going Beyond Boundaries: There is a Way and the Use of English Medium in Hausa Film Industry

2018 ◽  
Vol 7 (1) ◽  
pp. 205-224
Author(s):  
Muhammad Muhsin Ibrahim ◽  
Aliyu Yakubu Yusuf
Keyword(s):  
English Language ◽  
Film Industry ◽  
Postcolonial Studies ◽  
African Language ◽  
Dominant Language ◽  
Pan African ◽  
African Writers ◽  
Nigerian Film

Since its inception in 1990, Kannywood, the Northern Nigerian film industry, produced films only in Hausa, the dominant language of the region. The film, There is a Way (2016, dir. Falalu A. Dorayi) has recently debuted a new “genre” in the English language in the industry. However, the place of English or any non-African language in African arts (film, inclusive) is a topic of scholarly debate, especially within the discourse of postcolonial studies. Many pan-African writers and critics query the justification of that as the language is, they argue, foreign to African audience and is used only by and for the elites. Kannywood filmmakers, nevertheless, claim that theirs is rather a response to the Southern Nigerian filmmakers whose industry, Nollywood is enormously successful and far ahead for, among other reasons, their use of English. This paper attempts an evaluation of the English language and the subtitle of the film in question, to access the success or otherwise of its narrative essence.

The Charter of the Organization of African Unity

1965 ◽  
Vol 59 (2) ◽  
pp. 243-267 ◽  
Author(s):  
T. O. Elias
Keyword(s):  
Small Group ◽  
Sierra Leone ◽  
Prime Minister ◽  
African Unity ◽  
United Arab Republic ◽  
Self Defense ◽  
Pan African ◽  
Organization Of African Unity ◽  
Independent States

Early in 1961, the President of Liberia, the Prime Minister of Nigeria, and the Prime Minister of Sierra Leone decided to act as joint sponsors of a conference of the leaders of all the independent African states for the purpose of promoting inter-African co-operation. Liberia, as the the oldest of the three sponsoring states, graciously offered to play host. The idea was that all the African states that were independent at that time were ipso facto eligible for membership of the conference. This conference would include the small group of independent African states, usually referred to as the Casablanca bloc, consisting of the United Arab Republic, Ghana, Guinea, Mali and Morocco. This group had signed the Casablanca Charter which was a brief document setting out the aims and purposes of the organization, among which were schemes of economic and social co-operation and the establishment of an African High Command for the purpose of self-defense of its members as well as for that of ridding the continent of Africa of all forms of colonialism. When, therefore, the decision was taken by the three sponsoring states to call a Pan-African conference, it was envisaged that all the then independent states in Africa, including the so-called Casablanca bloc states, would attend and take a full part in its deliberations.

"TOUS LES MATINS DU MONDE": POETRY OF FADING SOUND

2021 ◽  
Vol 1 (4) ◽  
pp. 100-107
Author(s):  
Yu. A. Finkelshtein ◽  
Keyword(s):  
Mass Culture ◽  
Film Industry ◽  
Historical Background ◽  
Present Moment ◽  
Feature Film ◽  
Viola Da Gamba ◽  
Emotional Perception ◽  
Baroque Music ◽  
The Aesthetic ◽  
True Values

The object of the article is Alain Corneau's feature film "All the Mornings of the World" ("Tous les matins du monde", 1991). The movie is considered as a work of art with strong postmodern tendencies. The director uses music written in the XVIIth century to create an image of the era. The image of the gambist de Sainte-Colombe is formed on the basis of the aesthetic and emotional perception of his works by the creators of the movie. The timbre of viola da gamba, one of the key features of which is rapid fading, defines the main philosophical idea of the film. The "disadvantage" of the instrument, which contributed to its short life in art, is perceived by the filmmakers as its original value. The rapidly fading sound becomes a metaphorical symbol of dying and rebirth, death and immortality being one. In addition, Baroque music performs the function of temporary "immersion". Using the music of ancient styles, the film industry gains a foothold in true values and an element of authenticity. In turn, by participating in cinema, it appropriates the features of mass culture: lightness, illusiveness, and easy accessibility. Such ambivalence is also characteristic of the plot, in which events that evoke completely modern feelings take place against a historical background far removed from the present moment.

Modern domestic cinema and the legacy of shaken Aimanov

Keruen ◽  
2020 ◽  
Vol 4 (69) ◽  
Author(s):  
A.S. Jumadilov ◽  
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
National Culture ◽  
Film Industry ◽  
National Cinema ◽  
Soviet State ◽  
The Soviet Union ◽  
The World ◽  
History Of ◽  
First Time

Following the collapse of the Soviet Union, the post-Soviet state of post-Soviet autonomous republics turned out to be the ideology for which cinematographers and screenwriters have to make a film epic of epoch - national cinema. In this article, the author can only use the ever-present cinematography, the unmerciful nationalistic culture, the ideological orientation of the film industry, the uniqueness or national identity. It's a good idea to have a world-renowned artisan who is doing all the same, seeking internationalization and gloss? Another - cinematic and astrophysical art of Shaken Aimanov, whose works live in volumes or polls, and others. For many years, many changes have taken place in the national cinema, such as national culture, a national emblem of national culture. For the first time in the history of national cinema, national cinema and the world of cinema, the future and future films have been transformed into a lot of changes. The Concept of distinguished singer Shaken Aimanova is embodied in the volume, which, unlike the researchers and artists all over the world of cinema Shaken Aimnayev, the director of which, as long as he is a filmmaker, creates a film studio as part of national culture.

Female Entrepreneurship in the Nollywood Film Industry

2018 ◽  
pp. 126-144
Author(s):  
Floribert Patrick C. Endong
Keyword(s):  
Women Entrepreneurs ◽  
Film Industry ◽  
Future Prospects ◽  
Female Entrepreneurship ◽  
Female Entrepreneurs ◽  
Women Entrepreneurship ◽  
Early Stages ◽  
Production And Distribution ◽  
Micro Level ◽  
Nigerian Film

The Nigerian film industry (Nollywood) has predominantly been presented as a masculine world. This is not unconnected to the fact that most of the players and central figures in the history and growth of the industry are masculine. However, female entrepreneurship has marked the industry right from the early stages of its existence. Like their male counterparts, female entrepreneurs have, through exceptional entrepreneurial techniques, provided actionable solutions to some of the production and distribution crises which the industry has witnessed. Using empirical understandings, this chapter critically explores female entrepreneurship in the sector. It provides a micro-level perspective of socio-economic challenges faced by women entrepreneurs in the Nollywood film industry and their future prospects. The chapter begins by exploring entrepreneurship in Nigeria's economy before delving into the prospects and challenges of women entrepreneurship in the Nollywood industry.

Bava Goes Fashion

2020 ◽  
pp. 9-14
Author(s):  
Roberto Curti ◽  
Roberto Curti
Keyword(s):  
Film Industry ◽  
Foreign Markets ◽  
Feature Film ◽  
The World ◽  
Italian Film

This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It also mentions Bava's two other Gothic horror movies released in Italy in the summer of 1963 that were destined primarily for foreign markets, especially in America. It discusses I tre volti della paura starring Boris Karloff and Mark Damon, and La frusta e il corpo with Christopher Lee and Daliah Lavi. The chapter describes Bava's debut film La maschera del demonio in 1960, which distributed overseas by American International Pictures under the title Black Sunday. It points out how the Italian film industry had increasingly been involved in bilateral and multinational co-productions since the first agreement signed with France in 1949.

Media Portrayals of the Woman Suffrage Movement

2021 ◽  
pp. 168-184
Author(s):  
Tina Olsin Lent
Keyword(s):  
Film Industry ◽  
Woman Suffrage ◽  
Feature Film ◽  
Media Portrayals ◽  
American Experience ◽  
Elizabeth Cady Stanton ◽  
Suffrage Movement ◽  
The World ◽  
Cultural Shifts ◽  
Woman Suffrage Movement

Contributor Tina Olsin Lent investigates representations of the women in four recent filmic representations of this movement: Ruth Pollak’s 1995 episode of PBS’s American Experience, One Woman, One Vote, Ken Burns’s 1999 documentary, Not for Ourselves Alone: The Story of Elizabeth Cady Stanton and Susan B. Anthony, Katja von Garnier’s 2004 HBO feature, Iron Jawed Angels, and Sarah Gavron’s 2015 feature film, Suffragette. Lent relates the new pattern of films to a number of cultural shifts that arise by the mid-1990s. Women assume more prominent positions within the film industry. Stories centered on women begin to find their way into films circulated in wide-release. Women also become more active in politics. And, notable anniversaries of various woman’s suffrage movements around the world begin to occur. Lent pays particular attention to the ways in which the histories found in the above four films bend to fit the narrative and political priorities surrounding each production.

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