Reimagining the ‘Blockbuster’ for Nigerian Cinema: The Nollywood Narrative Aesthetic of Affective Spectacle by Tori Arthur
[email protected] American Culture Studies School of Cultural and Critical Studies Bowling Green State University Bowling Green, Ohio Tori Arthur is a doctoral student in the American Culture Studies program on the Critical Studies in Media, Film, and Culture track in the School of Cultural and Critical Studies at Bowling Green State University. Her dissertation will explore Nollywood’s affective storytelling and the dissemination and consumption of Nigerian films in the digital sphere. Prior to beginning her doctoral studies, Arthur was a Visiting Assistant Professor of Broadcast/Television Journalism and Public Relations at West Virginia University, Morgantown. She is currently a senior editorial and acquisitions consultant with ARBI Press, an upstart publishing company based in Lagos and Calabar, Nigeria. Abstract The typical ‘westernized’ notion of a blockbuster film denotes it as a feature produced with a multi-million dollar budget, high production value, well-known actresses and actors, and the latest special effects and digital advances. This meaning becomes problematic when it is applied to films from developing nations that do not have access to digital tradecraft. A new definition that privileges storytelling over production gimmicks is necessary in order to carefully and thoroughly analyze the two types of features currently produced in Nigeria, the traditional cultural melodramas and the theatrical film that retains melodramatic forms while attempting to mirror the methods of a big budget feature. The Nollywood blockbuster can be defined by its narrative spectacle, or hyper-dramatic plotlines that reflect the lived conditions and social pathologies that the Nigerian people face.