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The developing new wave of Nollywood : a conversation with Niyi Akinmolayan
Abstract
The new wave of Nollywood is largely defined by the operations and vibrant undertakings of young and serious minded filmmakers in Nigeria. This crop of filmmakers are determined to take over the industry by producing film and movies that possess the much desired lasting substance. These filmmakers are those who Jonathan Haynes has referred to as the “New Nollywood” filmmakers (Haynes, 2014) that gradually emerged with the coming of age of Kunle Afolayan’s The Figurine (2010). Niyi Akinmolayan, a film director and producer is a typical example of this group of filmmakers, whose filmic oeuvre is beginning to attract global attention and significance. In this interview, I engage the cineaste in a discussion that centres on him and permeate the universe of his works. I concentrate on his background and steady rise and development, his philosophy about film in general, and then Nollywood. I tackle him on the development of the various film technologies that have defined the Nigerian cinema. The conversation takes us through particular areas of film apparatuses such as storytelling, film narratives, directors, cinemas films, home videos, audience matter and pioneers of the industries, with reference to those who are unknown and that have influenced this visual creator at Anthills Studio.
... The new set of Nollywood filmmakers are bent on taking over the movie industry in Africa to produce films that have substance and can stand the test of time (Onikoyi, 2018). Since 1990s, Nigeria Nollywood has grown in leaps and bound. ...
Movie is one of the main indigenous and cultural media of African people. The suppression of voices, languages, cultural values and the under-representations of the minority cultural values in the Nollywood have, in no small measure, disconnected the voices and values of minority ethnic nationalities from global platform, where their cherished cultural values and tradition could be better relayed to the world. Film, in Africa ecosystem, has been deployed to sensitise, educate, admonish, project indigenous cultural practices, enlighten, mobilise, and has been used to promote certain health behaviour in most developing nations of Africa and Asia. The under-representations of minority ethnic nationalities in Nigerian Nollywood industry have not adequately grabbed the attention of Nigerian media researchers, communication scholars and researchers in theatre and media arts. This study is designed to examine the under-representations of ethnic minorities in the Nollywood and to offer useful suggestions towards integrating the ethnic minorities into Nigerian mainstream movie industry. The paper conducts investigations on Nollywood industry based on the findings from the literature review, while also using a theory to guide the study. The paper concluded that Nollywood filmmakers should advertise the African values of ethnic minorities to the world. Positive values such as marriage ceremonies, bride price, naming ceremonies, local festivals such as Egungun festivals, fishing festivals, Durban, Sango, Osun-Osogbo, Yemoja, Ogun and other local festival of ethnic minorities must be globalised on the platforms of Nollywood to facilitate national development and integration. Nigerian movie makers should greatly de-emphasize films on negative virtues and values such as gay, terrorism, lesbianism and other anti-African values of ethnic minorities in Nigeria.
This study critically examines the narrative pattern of the Nigerian Film Industry, styles, themes and story lines. The aim of this long essay, is to examine the narrative pattern of Old and New Nollywood film and compare both for possible change in narration. It is in this light that this study celebrates the improved and restructured narrative pattern of Nigerian films that poses as a transformational ability. This research has adopted thoroughly the qualitative method of research, narrative analysis of movies, consulting both primary and secondary data collection. In my findings, it was noticed that majorly all produced films in the Nigerian film industry are critically critiqued for monotonous contents revolving round a few themes, It is in this light this research celebrates the narrative pattern of the Industry hitherto which has shown intense level of advancement, refinement, attractiveness as exemplified in recent narratives by the Nigerian Film Industry. This study therefore concludes that the thoughts of the Nigerian Film Industry (Nollywood) having predictive, monotonous and disjointed narratives should be struck out from the minds of the audience as critics must outgrow their bias.
Political economy studies control and survival in social life. It is simply defined as the study of production and exchange and how these activities relate with the state and its laws. It is interested in how politics interacts with economics. Extensive essays and texts on the political economy of the film industry in general, and of Hollywood in particular abound. Such studies on Nollywood, the Nigerian film industry, remains scarce. But in recent times, authors, both indigenous and foreign, are beginning to give increased attention to the struggle for power and control within the industry. This study is interested in how economic activities in Nollywood interact with the law and government. It searches existent scholarship to interrogate what has been discussed on aspects of the political economy of the industry. It discusses these studies under production, distribution and consumption. It reviews other important industry matters like policies, interrogating briefly the place of MOPICON in the political economy of Nollywood. This review forms an important document for research on Nollywood, to curb and forestall consistent repetition of studies within Nollywood scholarship.
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