University of the Witwatersrand, Johannesburg THE ROLE AND SIGNIFICANCE OF MULTICHOICE AND ITS AFRICA MAGIC CHANNELS IN THE DEVELOPMENT OF NOLLYWOOD ERNEST-SAMUEL, GLORIA CHIMEZIEM Thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfillment of the requirement for the degree of Doctor of Philosophy. Johannesburg, 2017. 1 Copyright Notice The copyright of this thesis rests with the University of the Witwatersrand, Johannesburg, South Africa, in accordance with the University’s Intellectual Property Policy. No portion of the text may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including analogue and digital media, without prior written permission from the university. Extracts of or quotations from this thesis may, however, be made in terms of Sections 12 and 13 of the South African Copyright Act No.98 of 1978 (as amended), for non- commercial or educal purposes. Full acknowledgement must be made to the author and the University. An electronic version of this thesis may be found via the Library’s online catalogue. For permission requests, please contact the University Legal Office or the University Research Office (www.wits.ac.za). 2 3 Dedication To Chimereze, the one I call Professor, my 5 months old son I abandoned in Nigeria to pursue this dream, when the South African embassy denied him a visa. To Ernest, my husband and lover, who turned into a mother, to cater for the children in my absence; To Kelechi, Doodo and Jide, the lovely children that made me so proud; for whose sake this program could not be abandoned because they want their mother to be a “Doctor!” I thank God, we made it! 4 Acknowledgements First, I thank God for his favour, mercies, faithfulness and protection. I equally thank the management of Imo State University for including me among the staff benefiaries of the TETFUND Staff Development Scheme, which approved the study leave that brought me to South Africa. Without them this programme would not have been possible. I am also very grateful to my supervisor, Dr. Cobus Van Staden. His direction and guidance put me through a new lane of learning and made this dissertation richer and more brilliant than it would have been. Ndewo, Dr. Cobus, i meela! I am also thankful to the staff of the Department of Media Studies, particularly, Associate Prof. Nicky Falkof, Mehita Iqani, Dr Dina Ligaga and Dr. Ufuoma Agbojivi (nwa nne di na mba) for their kind encouragement and moral supports. I thank the Humanities Graduate Centre management; especially Prof. Eric Worby for the completion grant which helped alleviate my financial woes during the course of this program; and importantly, Lerato Seohatse, my writing consultant at the Wits Writing Centre . I wish to appreciate my senior carrel siblings and friends, including Drs. Anne Ajulu-Okugu, Linet Imbosa, Pamela Banda, Stanford Mahati (my favourite parley), Late Jeremy Gumbo, Asanda Benya, Tatenda Mukwedeya, Crispen Chinguno, and the younger generation like Emeka Umejei, Simba Nyuke, Janet Munakamwe, Ladi, Waidi Akanji, Carol Adhola, Kingsley, Dostin Lakika, Stanley (Okechukwu) Karabo, Jane Wangari, Emmanuel Okom, and Felix Mutunga; all of the Humanities Graduate Centre for their supports, advice, and solidarity. At home in Nigeria, I have many friends like Oby Nnamocha, Chris Nwaru, Constance Aharanwa, Salome Ike, Rev. Fr. Prof. Jerome Okonkwo, Prof Isidore Diala, Prof Johncliff Nwadike, Rev. Fr. Des Obi, Dr. Leon Osuh, Prof. P.A.Anyanwu, who showed love and offered prayers for my success. My personal and research Assistants, Chioma Okereke and Kelechi Agoha were invaluable for their kind assistance during field research. I am grateful. I enjoyed the kind encouragement and supports of some special people outside Wits. I am very grateful to these people, including Prof. Chidi Oguamalam of University of Ottawa, Canada; Prof. Patrick Ebewo of TUT, Tshwane; Aifheli Makhwaya of National Film & Video Foundation, Johannesburg; Dr. Ikechukwu Obiaya of the Pan African University, Lagos; Prof. Nnamdi Obiaraeri of Imo State University, Owerri; and Dr. Sarah Chiumbu of Ministry of Social Development, Pretoria, who was my teacher, sister and friend, all rolled in one. My sojourn in South Africa would not have been memorable and worthwhile, but for my friendship with Peter Nwafor Esq., Abiye Opuamah, a brother of special awesomeness, Nomfundo Mbuli, Osita Ezeliora, Senayon Olaoluwa, Jendele Hungbo, Nkem Ume-Njammah and Asiwaju Jerry Alagboso. Ihe dika unu akokwala m! A few individuals contributed immensely during the course of my field research in Nigeria; and later became close friends. To them I owe some appreciation: Amayo Uzo Phillips, Ms Patricia Bala and Barr.Chiedu Okolue of NFVCB, Dr. Armstrong Idachaba, and Dr. Onoja Ogomu of NBC, Vitus Ekeocha and many respondents I cannot name here due to ethical reasons. To Prof. Bheki Peterson, my first supervisor who started this journey with me, but left midway on sabbatical, I say, “I appreciate you, Prof!” I thank my family and blood siblings for all their prayers. To those friends I forgot to mention here, I pray you accept this general acknowledgement. 5 And finally to my academic father, Prof. Kalu Uka, “Gloria, get this thing done with!” Prof, I have done it! 6 Abstract This thesis explores the contribution and significance of Multichoice Nigeria and its Africa Magic channels in the development of the Nigerian film industry. The main objective of the study is an interrogation of the terms of Multichoice contracts with Nollywood content producers as well as a review of the effect of the programmes of Multichoice on content producers. The second key objective is to examine the development impacts of these initiatives on the Nigerian film industry. Semi-structured in-depth interviews were conducted with industry practitioners, representatives of the Multichoice and officials of government agencies in Nigeria in addition to analysis of policy documents. The thesis is influenced by critical political economy and the critical media industry studies approach developed by Haves, Lotz and Tinic (2009) whose study of creative and entertainment industries focuses on content producers and cultures of production in media corporations. The study examines Multichoice’s production initiatives as perceived by Nollywood content producers, and provides situated accounts of Nollywood filmmakers’ experiences, encounters, pressures and tensions which undermine Multichoice’s apparent social objectives. It modifies the production culture to the culture of business in the media industry and exposes the need for industry practitioners to engage intellectual property lawyers in their business dealings with Multichoice and other corporate agencies in order to forestall exploitation. While highlighting the complexities, contradictions and ambiguities in the Multichoice-Nollywood relationship, as well as the challenges confronting Nollywood, I argue that contrary to the reservations of the content producers, the industry has benefited from Multichoice in direct and indirect ways. These include improved quality of film production, the increased online presence of Nollywood films, enhancing the local tourism and hospitality industry and promoting professionalism. The study therefore recommends government intervention to address the existing mistrust between Multichoice and Nollywood. The study inspires the “early bird theory” to interpret the Multichoice-Nollywood relationship and experience; studying similar relationships between media corporations and the local film industries in Third World nations. This thesis makes original contribution to knowledge by providing resource material to the scarce literature in critical media industry studies with particular regard to the African film industry. Key words: Nollywood, Multichoice, Africa Magic, agency, exploitation, domination, contracts, development. 7 Abbreviations ADVOD Ad-based video on demand AIT African Independent Television AMOF Africa Magic Original Film AMVCA Africa Magic Viewers’ Choice Award ANC African National Congress CMI Critical Media Industry CPE Critical Political Economy CSI Corporate Social Initiative CSR Corporate Social Responsibility DG Director General DSTV Digital Satellite Television DTT Digital Terrestrial Television FVOD Free video on demand GDP Gross Development Product IBB Ibrahim Badamosi Babangida IP Intelluctual Property MCL Modern Communication Limited M-Net Electronic Media Network NBC National Broadcasting Commission NCC National Copyright Commission NEXIM Nigerian Export-Import Bank NFC National Film Corporation NFDC National Film Distribution Company NFLC National Film Licencing Framework NFVCB National Film and Video Censor Board NTA Nigerian Television Authority NVOD Near video on demand NWINCO New World Information and Communication Order PPV Pay per view PR Public Relations PRO Public Relation Officer SA South Africa SABC South African Broadcasting Corporation SAP Structural Adjustment Program SVOD Subscription video on demand TBN Trinity Broadcasting Network VOD Video on demand WTR Withdrawing Tax on Royalty. 8 TABLE/FIGURE/DIAGRAM PAGES Fig.1.1 The organizational structure of NBC 19 1.2 The new NFVCB classification 22 1.3 Multichoice packages in Nigeria 28 4.1 List of documents analysed 113/114 4.2 Summary of Interviewees 116 5.1 Faces of Middlemen 157 5.2 Enriching live logo 160 5.3 AMVCA 2016 logo 162 5.4 AMOF logo 167 5.5 A section of Tinsel Casts 172 6.1 Illustration