Nigeria Arthouse Cinema
Executive Summary
The film sector presents a spectrum of contrasting landscapes. On one end of the spectrum are the glitzy structures delivering high budget films – mainstream. On the other end are the ramshackle outposts, trying to live up to their identity as artistic film sector (Udoh & Etteyit 2020) – waiting to become relevant, fresh, and up to date for their sophisticated niche client, a story which will wait to see unfold. With the rapid increase in technology advancement, this spectrum is likely to expand further, presenting even more ‘blurredness’ in the future of the Independent films sector. While there is extensive literature on the Independent film industry and the performance of particular artistic film sectors, there are few exhaustive syntheses of the ‘reason’ why rectifying a thirty-year stage with the need to stay relevant, fresh, and up to date is a major challenge pressing Nigerian Arthouse Cinema. This paper reports the results of a desk stop study aiming to stock and classify the reason why the issue is a major challenge pressing the Nigerian Arthouse Cinema. Noteworthy, the paper is investigated in both industrial and academic literature. More specifically, it specifies the type of research conducted on issues pressing Nigerian Arthouse Cinema, where and on which platform and population it was performed to. it
Methods
10 databases were researched to identify industrial and academic papers published in English between January 2002 and April 2020 that stocked the ‘reasons; why the issue is pressing for Nigerian Arthouse Cinema. Notably, the evaluation was based on qualitative textual evaluation and descriptive statistical.
Results
A total of 50 case studies were included in the scope analysis. 62.2 percent of these case studies were specific to the film industry falling within the Independent film sector and 29.5 percent of these articles were specific to the mainstream. Additionally, the most frequently studied population included Nigeria’s niche clients.
Conclusion
This paper provides a quantitative overview of the evidence available on Nigerian Arthouse Cinema and qualitative analysis of the sophisticated relationship that Nigerian Arthouse Cinema entertains. While effective artistic film models are available to curb the pressing burden in Nigerian Arthouse Cinema. Unfortunately, the sector is too weak to efficiently leverage the available resources to stay relevant and up-to-date. Within this perspective, lessons are taken, as well as two knowledge gaps.
Introduction
The current economic recession has infected nearly every independent film industry, and even Nigerian Arthouse Cinema has lost its fabled immunity from the recession. The current recession provides the artistic directors the chance to reanalyze the practices of mainstream film sectors (Adesokan, 2018). The mainstream industry is now attempting to forestall its own demise by leveraging the available resources to stay fresh and relevant (Adesokan, 2018). It is a lesson that may apply in the present recession for the film sector of every size: adapt and change rather than a standstill. Independent film firms including Nigerian Arthouse Cinema that are tempted by innate caution to hunker and choose not to leverage the existing resources to stay relevant and fresh may lose the next generation as a niche audience and also risk slipping even further into obscurity. They need to provide an experience that niche consumers can’t get home including vibrating chairs, better sound, and an all-around emergence experience to draw in the audience.
In the last decades, scholarship on the Independent film sector sought to evaluate more accurately the role played by different artistic actors and strategies to increase their responsiveness to emerging niche client demand/needs. Artistic services research has concentrated on the way Nigerian Arthouse Cinema are required to adopt technology innovations. This authorship has at times yield recommendation to promote the uptake of new technologies that could strengthen Nigerian Arthouse Cinema, but not much work has attempted to classify ‘how’ and ‘why’ rectifying thirty-year stage with the need to stay relevant, fresh and up to date is a major challenge pressing Nigerian Arthouse Cinema. Furthermore, since Independent film research may explore the quality of Nigerian artistic film delivery, the needs of particular niche clients, it’s published in different journals. As a result, evidence on the issue is unevenly distributed across several industrial journals, in a sequence that is not easily available for those who wants to invest in artistic film innovation. This paper thus, reports the findings whose aim was to take stock of and accurately classify why rectifying a thirty-year stage with the need to stay relevant, fresh, and up to date is a major challenge pressing the Nigerian Arthouse Cinema. Noteworthy, the paper has been investigated in both industrial and academic literature since 2002. It defines this “challenge” as the emerging issues that destabilize the sustainability of Nigerian arthouse Cinema. This paper also looks at several strategies – mainstream has disseminated to employ new technology and stay relevant, fresh, and up – to date. Noteworthy, it also allows independent film director to learn from successful mainstream industry and adapt to their niche client demand and need. As a definition, the latter refers to financial resources that are deemed necessary to improve Nigerian Arthouse Cinema performance.
Research question
Why rectifying a thirty-year stage with the need to stay relevant, fresh, and up to date is a major challenge pressing the Nigerian Arthouse Cinema?
Needless to say, having a clear understanding of this industrial and academic literature could help prioritize key needs for artistic Naija film improvement and gaps that call for scholarly attention.
The need for the Desktop research
Nigerian Arthouse Cinema is facing difficult times. Since the official start of the recession in January 2020, Nigerian Arthouse Cinema has shed more than 3000 jobs, 200 artistic jobs – including both directors and artistic actors – were eliminated from January to April of 2020 (Udoh & Etteyit 2020). The concern about the durability of artistic films and the alternative ways to cope with the changing niche client film choices and the best strategy for diluting the reputation of being outdated -remaining relevant, fresh, and up to date is to be considered in this desktop research. Nigerian Arthouse Cinema is needed to caters to those who are extremely quality conscious but still want the feelings of their culture and traditions in the film.
Research Problem
The problem which is considered in this desktop research;
Nigerian Arthouse Cinema has been facing deteriorating revenues because of the changing niche client artistic film choices; what should be its strategy not only to dilute the reputation of being “outdated” but also to find options for diversification of its artistic films.
Research Objectives
Determining why rectifying a thirty-year stage with the need to stay relevant, fresh, and up to date is a major challenge pressing the Nigerian Arthouse Cinema.
Determining the alternative for coping with the changing niche client film choices.
Finding out the best strategy for diluting the reputation of being an outdated sector.
LITERATURE REVIEW
This section contains an overview of Nigerian Arthouse Cinema, challenges pressing Nigerian Arthouse Cinema. A review of the influence of technology and economic pressure on artistic service delivery in Nigeria is presented.
Nigerian Arthouse Cinema
The role of Nigerian Arthouse Cinema as a space for social cohesion and understanding is, of course, something to be applauded. It narrates how humanity has survived in its environment over the years. According to (Saul & Austen 2010) Nigerian Arthouse Cinema and their artistic product upkeep are imperative because they represent Nigeria’s history. Zajc, (2009) states that Nigerian Arthouse Cinema represents an art of modernity, one of the most pervasive sectors creating an identity, of the 20th century. Saul & Austen (2010) point out that if we accept the hypothesis that the 20th-century generation had its own eyes, for example, its own specific way of looking at the world, then it’s okay’ to say that Nigerian Arthouse Cinema is – the eye of the 1980s. Saul & Austen (2010) states that It is a product of time and sign of the times; a product because it confirmed and inspired the taste of modern man.
Influence of technology and Economic pressure on Nigerian Arthouse Cinema
The artistic film sector has shifted from artistic provider-driven to niche client-driven. For artistic directors – who used to determine whether creative content lived or died – the internet has proven to be disruptive, emerging menacingly over their little profit. Ebelebe (2017) acknowledges that the rise in popularity of the internet has been accompanied by claims that could change the artistic sector forever. In particular, it has been pointed for misleading the niche client and refining niche client’s artistic film choices (Altabef & Gaonkar 2017). More specifically, greater awareness of film technologies via internet access and simply greater belief in the potential benefits of technology are strong drivers of niche client expectations and choices. However, while there is broad agreement that niche client expectations are critical in driving demand for quality artistic ‘Naija’ films and Nigerian Arthouse Cinema access to new technologies, it is virtually impossible to isolate the impact.
While the Nigerian Arthouse Cinema realm seems forever to be leaping forward with one foot, while keeping the other rooted to its past (Altabef & Gaonkar 2017), the sector is constantly still struggling to remain fresh as a live performing art in an era when digital media exert the most influence. Altabef & Gaonkar, (2017) buttress the point further by stating that the first decade of the 21st century did see a significant shift in not only how Nigerian Arthouse Cinema niche clients view artistic films but also how those their artistic films communicate with their niche consumers. Digital streaming of artistic/experiment products, of course, is the most sophisticated change Nigerian Arthouse Cinema may have ever experience. Husseini &Sunday (2019) maintained that Nigerian Arthouse Cinema is slugging in “its five feet underground” due to illegal streaming of artistic ‘Naija’ films for free. Moreover, the potential artistic audience is aging. And Nigerian Arthouse Cinema, while not dependent on setting high-quality films to stay profitable, they must remain relevant to younger, more technologically savvy viewers. Husseini &Sunday (2019) the latter audience are not just streaming films they are streaming experiences, emotions, and memories. As if that is not all, they want to access those artistic films in any style they desire. Therefore, a major challenge that the Nigerian Arthouse Cinema faces, then, is how to rectify its thirty-year history and culture with the need to remain relevant, fresh, and up to date (Husseini &Sunday 2019). Specifically, Nigerian Arthouse Cinema increasingly faces the challenge of maintaining cultural standards while also being entertaining enough to meet its niche audience needs. Unarguably, technology has created a generation of niche clients that are quality conscious and crave sophisticated new experiences (Husseini &Sunday 2019).
Knowledge gaps
Despite the special call for increased Independent film sector responsiveness to change in niche client film choices and needs, the desktop research shows that not much research has explored the ‘reason’ why the issue is pressing. Nevertheless, finance and human resources to invest in the upkeep of technology lie upstream of all the other ‘reasons.’ For instance, a growing and more diversified quality conscious niche clients affect how resources (artistic director, actors, financial, informational) should be deployed to keep abreast with times and stay fresh and relevant. The body of Independent film sector focuses on the other alarming ‘fresh’ challenges that arise as a consequence of sophisticated niche client – who wants Nigerian Arthouse Cinema to rectify their thirty-year stage with the need to stay relevant, fresh and up to date and context may be underestimated. Further research should, therefore, put much attention to these super upstream fiery, seeking to bring about changes that are critical.
Considering, the growing ‘questions’ about the financial sustainability of Nigerian Arthouse Cinema, and the continued emergence of mainstream film sector since the turn of 20 the century, it is surprisingly that much research has not explored the issues (resources and finance) borne when- rectifying thirty-year stage with the need to stay relevant, fresh and up to date is a major challenge pressing Nigerian Arthouse Cinema. Perhaps further research could explore particularly the mainstream sector that falls within the section where other pressing challenges relating to new technology upkeep and finances, a drought of trained professionals, and aging population are currently fueling each other. Up to 20% of the cases studies evaluated within this section included the Mainstream Nollywood sector that had a critical economic advancement in the last 20years, and play an active role in the dissemination of artistic films innovation in the next generation.
Finally, an important investment in knowledge has been made in the film sector, but a clear understanding of the length to which they enable Nigerian Arthouse Cinema to thrive would prove very valuable.
Methodology
Desktop research is particularly appropriate for taking stock of existing knowledge as an inquiry and identifying the importance of knowledge gaps. Desktop researches differ from primary research in that they lack the freshness of the actual material conducted through interviews. The issue is analyzed based on the analytical skills of the researcher and the quality of the desk data. Specifically, the paper followed different desktop research criteria.
Search strategy: identification of databases and relevant case studies
This paper strike a clear balance between comprehensiveness and breadth, and disseminate the referential search strategy in 2 critical steps: firstly the paper selected a set of case studies that represented sound examples of the papers required, that is case studies that explored why rectifying thirty-year stage with the need to stay relevant, fresh and up to date is a major challenge pressing challenge for Nigerian Arthouse Cinema. Secondly, the paper also looks at several strategies – mainstream has disseminated to employ new technology and stay relevant, fresh, and up – to date.
Case study selection process
After exclusion of duplicates, 30 case studies against the exclusion and inclusion criteria were screened. To be included in the review the case studies had to: 1) be written in English, 2) present why rectifying a hundred-year stage with the need to stay relevant, fresh, and up to date is a major challenge pressing challenge for Nigerian Arthouse Cinema. If the relevance of the case studies was uncleared from the abstract, the case study was salvaged. Because abstracts cannot be assumed to capture the full scope, the case studies that met the condition for the inclusion criteria to ascertain whether they covered the research question.
Data collection
A data chart has been refined to document the analysis. To this end, the Excel file fell into four broad domain was disseminated: 1) case studies authors, 2) detail regarding the scope of the study, 3) describing why rectifying hundred-year stage with the need to stay relevant, fresh and up to date is a major challenge pressing challenge for Nigerian Arthouse Cinema.
Collecting and reporting the result
In order to capture case studies that were well suited to a range of disciplines applicable to the films industry, a total of 7 online databases were examined in April 2020 and publication dated between February 2002 and January 2020. To lower the redundancy of citations that would be excluded, case studies without abstract were omitted. Moreover, in order to classify what is known about why rectifying a thirty-year stage with the need to stay relevant, fresh, and up to date is a major pressing challenge for Nigerian Arthouse Cinema, the paper combined descriptive statistics and qualitative textual analysis. Noteworthy, for each case study, issues that had been explored and employed a single spectrum to classify why they are pressing were extracted. The aim was developed to illustrate and report the ‘reason’ as closely as the case study scholars had described them.
Results
After the omission of duplicates and independent review of 50 case studies, a total of 30 case studies initially met the inclusion approaches. However, the full text could not be traced for 6 of these references, and 4 were omitted because the case studies did not have an indispensable context to the cases. A total of 20 case studies were explored to ascertain whether they addressed the research question and 10 case studies were included in the scope. Noteworthy, 10 of these case studies were secondary research, and half were from formal empirical studies. Among the empirical studies, several studies were qualitative (70%), which 15% of them employed a mixed-method approach. Researcher interest in issues in the independent films sector and ‘reasons’ why the issue is pressing for the industry steadily increase since 2002; the number of articles with relevant case studies per year exponentially rose from the year 2002 to 2019, with a peak of 5 ultimate articles in 2014. Noteworthy, among the 8 case studies were papers addressing how Mainstream Nollywood has evolved with brand new strategies to meet their sophisticated niche clients’ needs and the majority of case studies that studied ‘reasons’ why the same issues (niche client’s cravings sophisticated experience) is pressing for Nigerian Arthouse Cinema.
What types of reasons – of why rectifying a thirty-year stage with the need to stay relevant, fresh, and up to date is a major challenge pressing Nigerian Arthouse Cinema have been documented by investigators?
The issue is pressing because it fuels a whole host of other fresh challenges (resources and finance). Noteworthy, the corpus of case studies equally underscored issues related to artistic training (25.5%) and artistic actors’ motivation and salaries (25%). Challenges that were less frequently analyzed included communicating between artistic films producers/directors and niche clients (8.2%), artistic actors’ retention (8.1%), workload (5.2%). One challenge surrounding artistic actors retention was described as even happening both across and withing film sectors (Akinsola, 2020).
The movement of artistic actors to Mainstream Nollywood further exacerbated the manpower shortage in Nigerian Arthouse Cinema. Consequently, half of the number of artistic actors who remain in the artistic ‘Naija’ sector struggle to provide services needed to meet client expectations.
Finance
Finances issues accounted for only (32.5%) of all challenges fueled by the need to stay relevant, fresh, and up to date. Within this spectrum, investigators mostly emphasized the issues in securing adequate funds for the production of high budget artistic films. Despite, the fact that funding issues accounted for the average percentage of the overall ‘reasons’ documented in the case studies, it is often framed as a major threat to artistic ‘Naija’ film sustainability due to the fact that the sector is not funded by the government. The list of financial challenges that Nigerian Arthouse Cinema face was postulated to be monument (Endong,2020);
The smart money left the artistic ‘Naija’ business years ago, largely because investors were put off by Mainstream Nollywood accounting that turned Nigerian Arthouse Cinema into financial losers. Their directors/leaders are confronting hurdles such as rising expenses for artistic supplies and labor while dealing with rising niche client expectation and demand.
Tunde Kelani films were strongly criticized of is lack of historic content and quality (Ebelebe, 2017);
The 2007 release of Tunde Kelani film received mixed to poor notices. Tellingly, many of the reviews focused on just how difficult this Yoruba piece is to stage. Cinemagoers complained that the poor soundtrack and lack of compliance to major historic detail caused them to become confused as to whether the film is an artistic product or not – despite the deep familiarity subject matter. Poor tickets in the previous years reflect such a tepid response.
Sufficient financial anatomy was reported as means to address quality production issues. (Correy., 2012)
As it turns out, sufficient financial anatomy goes hand-in-hand with quality production the author acknowledges that many financial metrics including Nigerian Arthouse Cinema profitability, financial leverage, operating efficiency costs were all influencing artistic film quality. For instance, an independent sector that earns more profits can offer higher wages, which in turn attracts more green talents, retain skilled workers, and the quality of production rises. Rising quality itself improves profits and more capital to invest in both expertise and technology.
Challenges raised by the allocation of resources accounted for 23% and insufficient financial autonomy accounted for 11.1%
Infrastructure and supplies
The infrastructure and supply accounted for 12.2% of all the challenges. In this spectrum, insufficient infrastructure and lack of sufficient equipment predominated only (45%). It was followed by issues in the artistic/experiment ‘Naija’ distribution and the complexity of raising niche demands and with their ‘growing’ costs.
As discussed in the below section, issues in this spectrum varied not only across Mainstream Nollywood and Nigerian Arthouse Cinema but also in nature. The following quote, explaining infrastructure and supply issues in the independent film sector, provides a more generic perspective (Adesokan, 2018).
“Despite significant investments in infrastructure, independent film industries have less Supply of production equipment and inadequate infrastructure”
Noteworthy, efficacy and quality of supplies accounted for 11.2% and 9.2%.
Population
(33.5%) accounted for challenges pertaining to the aging population. It was framed as unmanageable factors have deleterious consequence over artistic films sector financial sustainability.
Due to the aging population, a rise in demand and associated spending has contributed to augmented stress to Nigerian Arthouse Cinema. Noteworthy, the effect of aging on the current generation is having an impact on Nigerian arthouse cinema.
Expenditure per film per year on the middle-aged era is around four times higher than those on the previous generation and rises to between 5 and 10 times for younger age groups. Nonetheless, to date, population aging does not appear to have been a major driver of increased demand for high budget artistic ‘Naija’ films. This author estimate suggested that aging has contributed 10 percent of expenditure growth over the past 30 years – 70% less than the current baby boom generation.
Specifically, because younger groups stream proportionately more films, they demand commensurately more film technology. Utilization levels of film technologies are increasing faster for the baby boom generation, than the previous generation. This is likely to be reflecting a combination of changing choices, expectations, improved artistic film technology. Conversely, (McCain,2013) stated;
Not only is it appropriate to offer high budget artistic films, because the taste preference of many audiences remains the same despite their age, but as artistic film expectancy of the younger generation is greater, there is greater perceived anticipation of greater longevity of film technology benefits which in the recent years, have been appropriately restricted due to the perceived limited years of its benefit for a niche audience
Challenges raised by aging population accounted for 24% and demographic accounted for 11.1%
Skill and availability of trained professionals
A drought of trained and skilled professionals accounted for only (35.5%) of the challenges. The use of film technology at the very least require the knowledge and skills of professional and may also require other critical inputs, such as other well-equipped professions and capital equipment. To the extent that setting high budgets films require new more complementary input than technologies they replace, the effect on artistic niche client spending will be amplified. On the other hand, if these crucial inputs are limited, adoption of new film technology to set high budget films (Ebelebe, 2017) will likewise be constrained;
The rate of upstream of film technology may reflect in part the time take to acquire the necessary expertise. Specifically, the successful adoption of film technology largely depends on the knowledge and skills of artistic managers/ directors and actors.
To what extent do the reported challenge vary across mainstream media and how they (mainstream sector) cover the issue?
Mainstream Nollywood now the ability to market are specific to them that while they have credited from Nigerian Arthouse Cinema, it has been nearly impossible for the independent film sector to borrow from them. For (Chowdhury, 2008) Nigerian Arthouse Cinema doesn’t have a theme park where people can enjoy their favorite artistic films. Chowdhury et al., (2008) state that the synergy involved when mainstream Nollywood owns a TV network is unimaginable from ‘Naija’ artistic sector perspective. So basically, it has been a one-way road, where mainstream sectors have taken a number of techniques and models – independent film producers have pioneered, and they (mainstream) adapted them with new technology (Chowdhury et al., 2008). According to this author, the film equipment surveyed in most cases is sufficient layout, but usually insufficient in terms of utilities. Mr. Chowdhury state that Nigerian Artistic film performance equipment needs replacement. Specifically, most of the equipment are non-functional and old. Maintenance culture is very poor. Moreover, their productions are also plagued by mere technical glitches (Chowdhury, 2008).
While problems with quality production apply to all films produced in general, those based on the independent film sector face additional critics: they are almost always compared unfavorably with the mainstream media (Ebewo, 2007). He further states that the Mainstream sector is also plagued by inadequate financial, and lack of high-quality film delivery models indispensable for specific audiences. Nigerian Arthouse Cinema has survived over generation of change, and thus it can be said that it can adapt to change in niche client choice/preference (Lobato, 2010). But, exactly how much changes can Nigerian Arthouse Cinema adapt to – is still a mystery according to these authors. However, the Mainstream/dependent film sector is more likely to survive (Haynes, 2007).
According to Haynes, (2007) the Mainstream Nollywood has realized the hunger the niche client have for films and how they have become more quality conscious in the recent times and has decided to act upon the needs of their niche audience by leveraging the available resources to stay fresh and up to date. The dependent film sector now uses the technology – to instantly correct any imperfection in their film production (Haynes, 2007). They have made a conscious effort to display new cultures and sense. Mainstream Nollywood emphasizes with the millenniums and their concern to stay fresh by bringing out films that cater to those who are extremely quality conscious but still want the feelings of their culture and traditions in the film (Haynes, 2007). Madichie,(2010). states that the mainstream Nollywood sector produces films that follow a niche marketing strategy rather than mass marketing strategies.
One of the marketing strategies Mainstream Nollywood gives utmost importance to is the one-line approach (Madichie,2010). This strategy is where the mainstream managers – single line for all the films and reinforce the fact that the audience can come and enjoy the films in the cinema as per their preference and choice (Madichie,2010). The mainstream sector has been serving the audience for more than years along with their professional trained actors who are helping to improve the quality of production. In the early 1990s, Nigeria started on a ‘fresh’ path that has brought many marketers, producers, actors, and technicians into the limelight (Arewa, 2012). The development of Mainstream Nollywood is a complex story that may be narrated on multiple spectrums. Nollywood is foremost a technological story that churns out thousands of titles (Arewa, 2012). This allows the streamers to operate seamlessly across and between all online film stores. The changes in the market scenario provide Mainstream Nollywood to create a stronger relationship with its target audience who are currently a click away from their desire films (Lobato, 2010). In that much, (Lobato, 2010) acknowledge that Nigerian Arthouse needs to learn how Mainstream Nollywood are dealing with their sophisticated niche client and use the same mention strategies to dilute their reputation of being “outdated.” The authors assert that how Nigerian Arthouse Cinema comes out of this current recession will be a true test, not just of its collective character, but how well it has served its niche clients in difficult times and managed to keep them on board.
Conclusion
This desktop research paper concludes that the market for film technology is deeply embedded in the incentive structure of the film sector. They are many factors driving the for-film technology in Nigerian Arthouse Cinema and many other critical factors working to constraint it. Some of these factors reflect niche client expectation, valuation of high budget films and others may reflect institutional fund and distorted price signals. Specifically, the decision to use advances in film technology to rectify the Nigerian Arthouse Cinema thirty-year stage is divorced from the need for a niche client to ‘actually’ pay for it. This finding confirms that research on the Independent films sector has focused its attention on industry diffusion to technology, neglecting its initial intent to employ a wise perspective on the sector itself. This may be due to poor responsiveness to the lesson learned by the broader independent film research community. Research themes such as financing, trained professionals, aging population, the supply of film technology, infrastructure have indeed focused on the reasons that are closely related to the issue. However, these themes could be covered more holistically, through research on local independent film firm partnership. Although the definition of Nigerian Arthouse Cinema includes economic, social and environmental determinant, the findings postulate that both industrial and academic research on Nigerian Arthouse Cinema has concentrated on the factors and less often explored how Nigerian Arthouse Cinema work to constraint it.
Suggestion
The future research should focus on the other marketing strategies of the mainstream, while reviewing the additional strategies for independent film sector. The entire qualitative analysis should focus on the entire film sector. This will give future scholars outlook of that entire sector approach. Moreover, as many of the papers identified – they haven’t tapped into the niche rural market and the best way for them to increase their artistic film market coverage in rural areas. Therefore, future research should also focus on the latter to enable Nigeria artistic film sector attract the niche client of the rural market, and work extremely in a different way to become a symbol of everyone favorites both rural and urban areas. This will lead artistic film to become a status symbol which will have a stronger effect that their sector name.
Reference List
Arewa, O., 2012. The rise of Nollywood: Creators, entrepreneurs, and pirates. UC Irvine School
of Law Research Paper, (2012-11).
Adesokan, A., 2018. Introduction to Special Issue: African Artistic Practices and New Media:
Intersections, Volatilities, Futures—Issue II. Africa Today, 65(1), pp.vii-ix.
Akinsola, I.T., 2020. Nollywood Reception Preferences among Selected Multilingual Nigerian
Undergraduates in the University of Ibadan: Does Ethnicity Still Matter?. American Journal of Qualitative Research, 4(1), pp.39-49.
Akinsol a, I.T., 2020. Nollywood Reception Preferences among Selected Multilingual Nigerian
Undergraduates in the University of Ibadan: Does Ethnicity Still Matter?. American Journal of Qualitative Research, 4(1), pp.39-49.
Altabef, W.B. and Gaonkar, D., 2017. Silver Screen to Silver Bullet: A Cultural Explanation for
Nigeria’s Economic Growth.
Chowdhury, M., Landesz, T., Santini, M., Tejada, L. and Visconti, G., 2008. Nollywood: the
Nigerian film industry. Harvard School of Business.
Correy, M., 2008. Nollywood: A socially conscious cinema?. Black Camera, 22(2/1), p.137.
Endong, F.P.C., 2020. Tackling Nigeria’s Image Crisis With the Aid of Popular Cinema: A Study
of Nollywood Filmmakers and the Nigeria’s Nation-Branding Efforts. In Deconstructing Images of the Global South Through Media Representations and Communication (pp. 187-206). IGI Global
Ebewo, P.J., 2007. The emerging video film industry in Nigeria: Challenges and
prospects. Journal of Film and Video, 59(3), pp.46-57.
Ebelebe, U.B., 2019. Reinventing Nollywood: The impact of online funding and distribution on
Nigerian cinema. Convergence, 25(3), pp.466-478.
Husseini, S.H. and Sunday, O.A., 2019. From Nigeria Film Industry to Nollywood: Land-
Marking the Growth of the New Wave Cinema. In Nollywood in Glocal Perspective (pp. 25-43). Palgrave Macmillan, Cham.
Haynes, J. ed., 2000. Nigerian video films (Vol. 73). Ohio University Press.
Haynes, J., 2007. Nollywood in Lagos, Lagos in Nollywood Films. Africa Today, pp.131-150.
Lobato, R., 2010. Creative industries and informal economies: Lessons from
Nollywood. International Journal of Cultural Studies, 13(4), pp.337-354.
Madichie, N.O., 2010. The Nigerian movie industry “Nollywood”–a nearly perfect marketing
case study. Marketing Intelligence & Planning.
McCain, C., 2013. Nollywood, Kannywood, and a decade of Hausa film censorship in Nigeria.
In Silencing Cinema (pp. 223-240). Palgrave Macmillan, New York.
Saul, M. and Austen, R.A. eds., 2010. Viewing African cinema in the twenty-first century: art
films and the Nollywood video revolution. Ohio University Press.
Udoh, A.P. and Etteyit, A.S., 2020. Nollywood Video Films and the Nigerian Image Crisis: A
Study of Ten Films. In Deconstructing Images of the Global South Through Media Representations and Communication (pp. 207-224). IGI Global.
Zajc, M., 2009. Nigerian video film cultures. Anthropological Notebooks, 15(1)