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2007, The Journal of Human Communications: A Journal of …
The general objective of this study is to appraise the representation of the Nigerian (African) culture in the global market by the Nigerian Nollywood. Specifically, the study tries to find out how The Nigerian Nollywood projects Nigerian rich local cultural values to the outside world; and appraise how the influx of foreign cultural values into the Nigerian local film production affects the nation's cultural heritage. Nigeria or Nollywood is chosen for this study because of her position in the continent and her leading role in the film industry in Africa. This study becomes also necessary because, despite the fact that Nollywood ranks and competes with Hollywood and Bollywood, in terms of quantity, locally outsell foreign ones, and are also appreciated all over the world; Nigeria continues to suffer negative image in the comity of nations and critics kept crying foul over the erosion of indigenous cultures. To this end, this study employs case reference analysis method and analyzed some films purposively selected for the performance of this task. The study observes among others that Nollywood dwells too much on the negative aspect of the nation's cultural practices to the detriment of the nation's image. It was also discovered that the act of borrowing themes, plots etc, from foreign films has done much harm than good to the preservation of the Original Research Article
This article examines how Nollywood video films impact Nigerian and other African cultures and environments by connecting an oral culture such as Nigeria quickly through the literate phase to membership in the global village. It also contributes to McLuhan’s hot–cool model by applying it to Nollywood video films, which is complex because the term ‘video film’ connotes a combination of cool (i.e., television) and hot (i.e., cinema) media. Applying the hot–cool model to Nollywood productions suggests that quick and cheap productions are likely to distort African environments and cultures negatively, unlike the well-planned and larger budget productions that are likely to be made on celluloid. Finally, this article explicates two Nollywood video films in order to ascertain how the Nigerian and other African environments and cultures are impacted in light of the complexity of hot and cool media. The article concludes that quick productions are better viewed and decoded via a cool medium, while well-planned productions are better viewed and decoded via either a hot or a cool medium.
2017 •
Film culture in Nigeria has become very popular among Nigerian and transnational audiences especially in Africa to the extent that there is hardly a day people do not look for new films produced by Nollywood. In the same light, there is hardly a street in the country where one cannot find at least a video shop that distributes these films. Young and old people especially those in the rural areas are often found hanging around these shops to catch a glimpse of any of the films advertised by retail outlets. This has therefore proven the popularity of Nollywood productions among the people, who see in these films issues of culture that engage their attention and also try to give them awareness about socio-cultural practices that are common in the society. A major problem of concern is that although these films expose and treat cultural issues that affect the society, their promotion of a true national identity is questionable. In this regard, this paper is an attempt to examine how the...
Nollywood has over the years become a world phenomenon, as its movies are being sold in Ghana, Togo, Kenya, Uganda and South Africa as well as Jamaica, USA and the UK to name a few. This paper looks at the portrayal (positive and negative) of the Nigerian society by Nigerian movies and finds out that the • movie industry has not fully reflected an appropriate image of Nigeria. The pa er concludes that we (Nigerians) owe it to our country to help uplift her image, one that has been battered by our governments and Nigerians themselves. All the same, the movie business has become a template of unity, a mirror of what is not ideal and also a bad teacher of what is right.
This paper is an exploratory study of the Nigerian film industry popularly called Nollywood. It evaluates the humble beginnings of the industry to its meteoric rise which is attributed to audience responses to the films and facilitated by the adoption of new communication technologies. The paper goes on to evaluate the relationship and potential influence of Nollywood on Nigerian indigenous culture in the era of globalization and observes that the influence is both positive and negative. The paper suggests that in the globalized world of today, Nollywood should serve as a vehicle for local cultural transfer as well as a means of indigenous cultural development. This, the paper concludes, should be done through the creative portrayal and juxtaposition of both local and global cultural norms in the themes of Nollywood films.
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