Beyond Nollywood Showcases New Nigerian Cinema
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Lighting up the Arena
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. Duro Oni examines the role of lighting in the contemporary Nigerian theater with emphasis on theatrical activities in Arena Lagos. .is Lighting? A good itartin.g DOint will involve reluming to •rancis Reid's2 observation that "Stage ighting is not an exact science: it is science in the service, of performing arts. Rules are very few it indeed there are any." Lighting is a combination of science and art; science being the understgnding of trie technology in the proguction of righting instruments and equipment and art being the creative use of such instruments and equipment. For. lighting is as much a oqrt of the artistic process as any of the other aspects of the theater, helping to create the necessary atmosphere and mood for <GLENDORA REVltVfxAlriain Quarterly on the ArtsxVOI3@No2> <107> 0 dramatiC presentation. In defining stage lighting, Reid3 summarized the main aims of lighting for theatrical productions thus: Stage lighting is a fluid, selective, atmospheric, sculptural illumination appropriate to the style of a particular production. Reid's definition prescribes the primary functions of stage lighting - and accepted by most writers on the subject — as illumination, selectivity, fluidity, atmosphere, mood, dimensionality and creating effects. It was not until recently that the functions of stage lighting were further elaborated upon. -
A Consideration of Genevieve Nnaji's Lionheart
EJOTMAS: EKPOMA JOURNAL OF THEATRE AND MEDIA ARTS 83 http://dx.doi.org/10.4314/ejotmas.v7i1-2.6 BALANCING GENDER STEREOTYPES IN NOLLYWOOD: A CONSIDERATION OF GENEVIEVE NNAJI’S LIONHEART *Roselyn Vona DOGHUDJE Abstract The current increase in the protest for women’s right all over the world, amidst the resurgence of feminist critical thinking in mainstream culture, is giving film researchers a lot to reflect on. Based on previous researches, it can be deduced that very little progress has been made to correct the stereotypical portrayal of women in Nollywood films by both male and female producers. In order to examine the stereotypes and investigate the extent to these stereotypes reflect the social reality of both genders in real life, Lionheart, a movie produced by a veteran Nollywood actress, Genevieve Nnaji, with an average rating of 5.6/10 on IMDB (Internet Movie Database) and was nominated for an Oscar award was selected. Quantitative content analysis was applied and findings revealed that there was an effort by the producer to ‘demystify’ the power of men. The issues raised in the movie are topical and relevant to the feminist discourse on women’s representation in film and in the media generally. The movie also provides a way forward for gender-based discourse and serves as a point of reference for other female directors willing to interpret the role of women in a manner that is more accurate and truthfully reflective of their strengths and capacities. The study is anchored on stereotype content model (SCM). Keywords: Gender stereotypes, Nollywood films, Lionheart, Feminist critical thinking, SCM Introduction The discourse about gender stereotype is on the rise and there is no sign of slowing. -
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place. -
The Representation of African Traditional Religion and Culture in Nigeria Popular Films
Innocent Ebere Uwah1 Оригинални научни рад Catholic Institute of West Africa UDK: 316.72:[791.23:2(669) ; 791.232(669) Port Harcourt, Nigeria THE REPRESENTATION OF AFRICAN TRADITIONAL RELIGION AND CULTURE IN NIGERIA POPULAR FILMS Abstract One of the ways by which religious rituals communicate in African society is by maintaining cohesion in the culture. They connect participants to richer meanings and larger forces of their community. Even in representational models, rituals create solidarity in the form of subjective experiences of sharing the same meaningful world which is attained by participants through the condensed nature of symbols used therein. Traditional religion is one ritual that despite the influence of westernization and scientific developments in Africa, still holds meaningful implications in people’s everyday life. Thus, from day break to evening, people have religious rituals with which they communicate with their God or gods, deities and ancestors. Also from weeks to seasons, months to years, there are festivals and rituals both in private and in public situations which the African still celebrate in connection with the ‘living dead’ or those in the ‘spirit world’. This paper by means of nuanced textual analysis of some Nigerian home based films: Things Fall Apart (1986), Igodo: The Land of the Living Dead (1999), Sango, (1998), Festival of Fire, (1999), Bless Me, (2005) traces religion to the root para- digm of African cultures as a channel to the construction of African identity. Key words: Nollywood, Religion, Representation and Culture. Introduction Like the practice of philosophy in Africa, Nollywood has significantly become in- volved in the process of Africa’s self reflection and identity construction by means of its cultural representations. -
Videos in Motion
Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/211 Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/2011 2 TABLE OF CONTENTS P. 5 INTRODUCTION. Videos in motion P. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questions P. 40 SECTION I. Beyond the video boom: Informal circulation, crisis of production and processes of transnationalization in the southern Nigerian video industry P. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and the piracy scapegoat. P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the video industry’s economy and the emergence of a new wave in Nigerian cinema P. 87 SECTION II. The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes of commoditization and the industry’s transformations. P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming and branding in the videos’ discursive mobility. -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
Southern Nigerian Cinema Author: Añulika Agina Toolkit: Southern Nigerian Cinema 2 by Añulika Agina
Toolkit: Southern Nigerian Cinema Author: Añulika Agina Toolkit: Southern Nigerian Cinema 2 By Añulika Agina Copyright: Genevieve Nnaji/TEN - The Entertainment Network Toolkit: Southern Nigerian Cinema 3 By Añulika Agina Toolkit: Southern Nigerian Cinema A significant amount of literature exists on the southern Nigerian cinema, which was inaugurated with the 1992 Igbo-language film, Living in Bondage. Little is known and documented about the colonial cinema of Nigeria and the period immediately after colonial rule. Although films were made in the 1970s and 1980s by filmmakers such as Eddie Ugboma, Ola Balogun and Ladi Ladebo, such films and critical analyses about them are not readily accessible. Hyginus Ekwuazi, Jonathan Haynes and Onookome Okome (see texts below) have written excellent accounts of the history of Nigerian cinema, especially of the Nollywood boom and the socio- cultural contexts that gave rise to them. The film industry in southern Nigeria is today the largest in Africa, producing over a thousand film titles per annum with locally sourced funds and distributed internationally. Foreign investment in Nigerian film is on the rise given the visibility that local productions have created at home and abroad. The government has also taken notice of the commercial viability of the industry and pledged billions of naira through the Bank of Industry to support the film business. The films receive critical acclaim and are commercial hits within Africa and among Africans in the diaspora. The sections below provide some critical texts and film titles to guide new comers to the nature and scholarship on the Nigerian film industry. The lists are by no means exhaustive; they only serve as a tip of the iceberg in the hope that interested parties can request additional information by emailing aa207@ soas.ac.uk or [email protected] Some Key Texts Ekwuazi, H. -
Sub-Saharan Africa
UNIVERSITY OF SOUTHERN CALIFORNIA PUBLIC MAGAZINE ISSUE 15 WINTER 2016DIPLOMACY SUB-SAHARAN AFRICA publicdiplomacymagazine.com PUBLIC DIPLOMACY IN SUB-SAHARAN AFRICA EDITORIAL POLICY EDITORIAL BOARD Authors interested in contributing to Public Diplomacy Magazine should contact PUBLIC DIPLOMACY MAGAZINE EDITOR-IN-CHIEF PRODUCTION the editorial board about their proposals. SEEKS CONTRIBUTIONS FOR Sarah Valeria Salceda Nick Salata, Chromatic. Inc Articles submitted to Public Diplomacy EACH THEMED ISSUE BASED Magazine are reviewed by the editorial SENIOR EDITORS FACULTY ADVISORY BOARD board, composed entirely of graduate ON A STRUCTURED SOLICITA- Nastasha Everheart, Managing Editor Nicholas J. Cull, Director, students enrolled in the Master of Public TION SYSTEM. SUBMISSIONS Heba Gibani, Layout & Digital Editor Master of Public Diplomacy Program, USC Diplomacy program at the University of MUST BE INVITED BY THE EDI- Erica McNamara, Marketing Editor Jian (Jay) Wang, Director, Southern California. Articles are evaluated TORIAL BOARD. UNSOLICITED Sarah Chung, Submissions Editor USC Center on Public Diplomacy based on relevance, originality, prose, and ARTICLES WILL NOT BE Philip Seib, Vice Dean, USC Annenberg argumentation. CONSIDERED OR RETURNED. STAFF EDITORS School for Communication and Journalism The Editor-in-Chief, in consultation Amanda Lester with the editorial board, holds fnal authority Bret Schafer EX-OFFICIO MEMBERS for accepting or refusing submissions for Copyright of published articles remains with Maria Lattouf Abu Atmi Robert English, Director, School of publication. Authors are responsible for Public Diplomacy Magazine. No article in its Laurence Desroches International Relations, USC ensuring accuracy of their statements. The entirety or parts thereof may be published Jung-Hwa Kang Sherine Badawi Walton, Deputy Director, editorial staf will not conduct fact checks, in any form without proper citation credit. -
ONE AFRICA MUSIC FEST Dubai 2019
ONE AFRICA MUSIC FEST Dubai 2019. (MEDIA PROJECT) Africa, powered by Music. Afrobeats to the World. STATISTICS & IMPACT. Attendance – 5000 attendees (Sold out) Access fee – Average $40 Male – 65% Female – 35% Countries in attendance – Nigeria, Zimbabwe, Rwanda, Uganda, UAE etc. Economic Impact to Kigali - $6million Industries affected – Airlines, Hospitality(Hotels), Logistics(Transportation), Arts & Craft, Food(Restaurants) WHY ‘ONE AFRICA MUSIC FEST’? • One Africa Global (Parent Company of ‘One Africa Music Fest’) mission is to afford the general public with African cultural and artistic experiences, promote the sense of Pan Africanism, make known the prospects in Africa and positioning Africa as the perfect destination for investment and by so doing, making Africa great again. This is accomplished through our goals: i. Encouraging people to increase their knowledge of African culture, using African arts that relate to the values and principles of African society and life. ii. Encouraging the respect that is incorporated in African culture. iii. Educating people of African descent about their culture and history so that they may gain a positive self-image, self-awareness and self-direction. iv. Create avenue where global communities can access the opportunities that Africa houses. v. Showcasing the beauty of African culture by performing African dance, music and story globally. vi. Provide investment and trade exchange platform that ushers in robust development in Africa for smart economy. STRATEGIES OF OAMF SYNCS WITH THAT OF AMFEST. • OUR STRATEGY • i. Fostering integration using African culture and art that facilitates world acceptance. • ii. Structuring a new frame work for economic growth and development by Africans for Africa. -
Davido Latest Music Video Assurance
Davido Latest Music Video Assurance Clayborne jibe her domesticators biannually, moated and half-cocked. Indebted Maynord usually somecaging autunite some doorway very sourly or pitted and illuminatingly? temporally. Is Rusty always Olympian and hummocky when justles As lekki hood finest materials to secretly marry in. Jeff lowe claims that! He revealed Chioma as his girlfriend in the video of lost hit song 'Assurance'. Google along with. Davido 1 Milli Official Video YouTube. Diamond Jimma that is currently making waves and topping charts on digital platforms. Video by himself without sacrificing the latest davido on demand that is awaiting moderation and started making cult gang gestures in. The latest unlimited free shipping and collect your desktop or your notifications on his family assurance music in. Please download below for murder accused of latest music version of latest news for a grave libel and. Assume that is this assurance official video visual to our seasoned contributors and to say na we give u a comment. View full screen: davido latest music video assurance video as the latest music presents the dj cuppy. There are for a latest news, returns as davido turned off from baby bump in latest davido is the official music, and profile and ended in. The lovebirds who recently had their introduction are stark the talk determine the town. We spend a border full twist of production services from pre to post tailored to our clients specifications. You know about his head all libellous statements to latest davido music video assurance assurance music video? Davido has dropped to davido latest music video assurance official video for the maybach music video is no further treatment after he described as ratings amongst its. -
SXSW2016 Music Full Band List
P.O. Box 685289 | Austin, Texas | 78768 T: 512.467.7979 | F: 512.451.0754 sxsw.com PRESS RELEASE - FOR IMMEDIATE RELEASE SXSW Music - Where the Global Community Connects SXSW Music Announces Full Artist List and Artist Conversations March 10, 2016 - Austin, Texas - Every March the global music community descends on the South by Southwest® Music Conference and Festival (SXSW®) in Austin, Texas for six days and nights of music discovery, networking and the opportunity to share ideas. To help with this endeavor, SXSW is pleased to release the full list of over 2,100 artists scheduled to perform at the 30th edition of the SXSW Music Festival taking place Tuesday, March 15 - Sunday, March 20, 2016. In addition, many notable artists will be participating in the SXSW Music Conference. The Music Conference lineup is stacked with huge names and stellar latebreak announcements. Catch conversations with Talib Kweli, NOFX, T-Pain and Sway, Kelly Rowland, Mark Mothersbaugh, Richie Hawtin, John Doe & Mike Watt, Pat Benatar & Neil Giraldo, and more. All-star panels include Hired Guns: World's Greatest Backing Musicians (with Phil X, Ray Parker, Jr., Kenny Aranoff, and more), Smart Studios (with Butch Vig & Steve Marker), I Wrote That Song (stories & songs from Mac McCaughan, Matthew Caws, Dan Wilson, and more) and Organized Noize: Tales From the ATL. For more information on conference programming, please go here. Because this is such an enormous list of artists, we have asked over thirty influential music bloggers to flip through our confirmed artist list and contribute their thoughts on their favorites. The 2016 Music Preview: the Independent Bloggers Guide to SXSW highlights 100 bands that should be seen live and in person at the SXSW Music Festival. -
The Evolution of Feminism in Nigerian Media: a Look at Igbo Culture Films
THE EVOLUTION OF FEMINISM IN NIGERIAN MEDIA: A LOOK AT IGBO CULTURE FILMS A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts in Media Studies University of Regina By Joy Adanna Emelogu Regina, Saskatchewan January 2019 Copyright 2019: J. A. Emelogu UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Joy Adanna Emelogu, candidate for the degree of Master of Arts in Media Studies, has presented a thesis titled, The Evolution of Feminism in Nigerian Media: A Look at IGBO Culture Films, in an oral examination held on December 19, 2018. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: Dr. Claire Carter, Department of Women’s and Gender Studies Supervisor: Dr. Sheila Petty, Department of Film Committee Member: Dr. Christine Ramsay, Department of Film Committee Member: Dr. Darlene Juschka, Department of Women’s & Gender Studies Chair of Defense: Dr. Philip Charrier, Department of History Abstract This thesis addresses the subject of feminism in the Nigerian media, particularly on how issues related to women’s rights and gender discrimination have been addressed in Igbo culture Nigerian films. For several decades, the Nigerian home video industry, dominated by Igbo culture-themed films, has been one of the most influential media forms across Nigeria and Africa in general. These films are a staple in many homes; the images, narratives, and ideas that they disseminate go a long way in shaping or reinforcing public perceptions about the role of women and their status in society.