Entertainment
Nollywood: Cradle Of African Movies
The Cinema of Nigeria,
often referred to as Nolloywood consists of films produced in Nigeria: Its history dates back to as early as the late 19th century and into the colonial era in early 1900s. The history and development of the Nigerian motion picture industry is sometimes generally classified in four main eras: the colonial era, Golden Age, Video film era and the emerging New Nigerian Cinema.
Film as a medium first arrived Nigeria in the late 19th Century, in the form of peephole viewing of motion picture devices. These were soon replaced in early 20th century with improved motion picture exhibition devices, with the first set of films screened at the Glover Memorial Hall in Lagos from 12 to 22 August 1903. The earliest feature film made in Nigeria is the 1926’s “palaver” produced by Geoffrey Barkas; the film was also the first film ever to feature Nigerian actors in a speaking role.
As at 1954, mobile cinema vans played to at least 3.5 million people in Nigeria, and films being produced by the Nigerian film unit were screened for free at the 44 available cinemas. The first film entirely copyrighted to the Nigerian film unit is “Fincho” (1957) by Sam Zebba; which is also the first Nigerian film to be shot in colour. After Nigeria’s independence in 1960, the cinema business rapidly expanded, with new cinema houses being established.
As a result, Nigerian content in theatres increased in the late 1960s into the 1970s, especially productions from Western Nigeria, owing to former theatre practitioners such as Hubert Ogunde and Moses Olaiya transitioning into the big screen. In 1972, the Indigenization Decree was issued by Yakubu Gowon which demands the transfer of ownership of about a total of 300 film theatres from their foreign owners to Nigerians, which resulted in more Nigerians playing active roles in the cinema and film.
The oil boom of 1973 through 1978 also contributed immensely to the spontaneous boost of the cinema culture in Nigeria, as the increased purchasing power in Nigeria made a wide range of citizens to have disposable income to spend on cinema going and and home television sets.
After several moderate performing films, “Papa Ajasco” (1984) by Wale Adenuga became the first blockbuster, grossing approximately N61,000 in three days. A year later “Mosebolatan” (1985) by Moses Olaiya also went ahead to gross N107,000 in five days. After the decline of the Golden era, Nigeria film industry experienced a second major boom in the 1990s supposedly marked by the release, of the direct to video film “living in Bondage” (1992).
The industry peaked in the mid 2000s to become the second largest film industry in the world in terms of the number of annual film productions, placing it ahead of the United States and behind only India. They started dominating screens across the African Continent and by extension, the Caribbeans and the diaspora with the movies significantly influencing cultures, bordering on theories such as the “Nigerialisation of Africa”. Since mid-2000s, the Nigeria Cinema has undergone some restructuring to promote quality and professionalism , with The “Figurine” (2009) widely regarded as marking the major turn around of contemporary Nigerian Cinema. There have since been a resurgence cinema establishments, and a steady return of the cinema culture in Nigeria. As of 2013, Nigerian cinema is rated as the third most valuable film industry in the world based on its worth and revenues generated.
As at 2004, at least four to five films were produced everyday in Nigeria. Nigerian movies now already dominate television screens across the African continent and by extension, the diaspora. The film actors also became household names across the continent, and the movies have significantly influenced cultures in many African nations; from way of dressing to speech and usage of Nigerian slangs. This was attributed to the fact that Nigerian films told “relatable” stories, which made foreign films to “gather dusts” on the shelves of video stores even though they cost much less.
According to the Filmmakers Cooperative of Nigeria, every film in Nigeria had a potential audience of 15 million people in Nigeria and about 5 million outside Nigeria.
In no time, the industry became the third largest producer of films in the world. However, this didn’t translate to an overtly commercial film industry when compared to other major film hubs across the world; the worth of the industry was approximately at just about us $250 million, since most of the films produced were cheaply made.
The film industry regardless became a major employer of labour in Nigeria. As at 2007, with a total number of 6,841 registered video parlours and an estimated of about 500,000 unregistered ones, the estimated revenue generated by sales and rentals of movies in Lagos State alone was estimated to be N804 million (US $ 5million) per week, which adds up to an estimated N33.5 billion (US $209 million) revenue for Lagos State per annum. Approximately, 700,000 discs were sold in Alaba market per day with the total sales revenue generated by the film industry in Nigeria estimated at N522 billion (US $ 3bilion) per annum.
Several grants have been launched by the Nigerian government in order to support quality content in Nigerian film. In 2006, project Nollywood was launched by the Nigerian government in conjunction with Ecobank. The project provided N100 million (US $781 thousand) to Nigeria film makers to produce high quality films and to fund a multimillion naira distribution network across the country.
In 2010, President Goodluck Jonathan launched a N30 billion (US $200 million) “Creative and Entertainment Industry Intervention Fund,” financed by Bank of Industry (BOI) in conjunction with Nigeria Export and Import (NEXIM) bank.
In 2013, A smaller new grant of N3 billion (US $20 million) was awarded once again solely for Nollywood, and specifically for the production of high quality films and to sponsor filmmakers for formal training in film schools. Also in 2015, bank of industry launched another Nolly -fund programme for the purpose of giving financial support in form of loans to film producers.
By the end of 2013, the film industry reportedly hit a record breaking revenue of N1.72 trillion (US $ 11 billion). As of 2014, the industry was worth N853.9 billion (US $ 5.1 billion) making it the third most valuable film industry in the world, behind the United States and India. It contributed, about 1.4% to Nigeria’s economy, this was attributed to the increase in the number of quality films produced and more formal distribution methods.
Among the organizations and events in the industry include: Actors Guild of Nigeria (AGN) which regulates and represents the affairs of the actors in Nigeria and abroad, African Movie Academy Awards (AMAA). Created in 2005, it is considered to be the most prestigious award in Nollywood and on The African Content, African Magic Viewers Choice Awards (AMVCA), Nollywood Movies Award (NMA) and Best of Nollywood Awards BON.
Additional reports from Naija.com
Entertainment
Davido Narrates How His Song Became President’s Ringtone
Nigerian megastar, Davido shares how his father recognised that his music was getting big.
Davido says his hit single ‘Dami Duro’ was the president’s ringtone
During an interview with newsmen, Davido spoke on the early days of his career and how he eventually got his father’s approval to make music.
The Grammy nominee shared the familiar story of how he left school in Atlanta and returned to Nigeria to pursue music without his father’s blessing which later led to his business mogul dad getting him arrested.
“I don’t think he did not want me to do music, he just wanted me to be successful as whatever I did because he got a blueprint for me already,” Davido said on his father’s early reaction to his decision to make music.
“He is so supportive and he checks on everything…My dad picks my album. When I am done, I send him all the tracks and my dad goes through all the records and gives me a paragraph each,” Davido narrates the personal interest and support his Dad gives him.
“My dad gave me the name Davido…The first show I did, he arrested me, the fans, the promoters,” Davido said laughing as he narrated the story of how his father got him arrested after he returned to Nigeria without his consent and had his first show as a 17-year-old. “He just wanted me to finish school,” Davido added about his father’s insistence that he get a university degree.
The three time Grammy nominee was asked when his father recognised that his music was getting big and he revealed it was when his hit song ‘Dami Duro’ was the president’s ringtone.
“When my song was the president’s ringtone,” Davido said.
While he did not mention the president or the country, Davido is likely referring to the exploit of former Nigerian president Goodluck Jonathan who was the head of state between 2010 – 2015.
During the interview, Davido also mentioned his plans as a businessman beyond music. He revealed he had a production house called Coco House which he describes as a media house for creatives. He also added that he intends to get into crypto.
Entertainment
Funke Akindele’s New Film Premiers, Dec
Nollywood actress and filmmaker, Funke Akindele has announced that her upcoming film, Everybody Loves Jenifa, a spinoff from the Jenifa franchise will premiere in December.
“Been long you saw Jenifa!!!!” Akindele said.
While a December premiere is confirmed, details on the film remain unknown. However, the new title, Everybody Loves Jenifa, suggests a potential return to the core elements that have made the franchise popular. With Akindele leading the creative team, viewers can anticipate the return of familiar characters and humorous storylines.
The sitcom, Jenifa’s Diary has been a major Nigerian television show since its debut in 2015. The series centres around the main character played by Akindele, and has featured Folarin “Falz” Falana, Lolo, Juliana Olayode, Lota Chukwu, Paschaline Alex Okoli, and late Aderounmu Adejumoke.
The Tide Entertainment reports that it has also had spin-offs and sequels like Aiyetoro Town (2019), which is set in Jenifa’s village, and Jenifa on Lockdown (2021).
Akindele played Jenifa in the first film in the franchise, Jenifa (2008), a village girl who travelled to the city in pursuit of fortune. Muhydeen S. Ayinde directed the movie.
The movie was nominated for four Africa Movie Academy Awards in 2009 including, Best Original Soundtrack, Best Actress in a Supporting Role, and Best Nigerian Film. For her performance in this movie, Akindele took home the Africa Movie Academy Award for Best Actress in a Leading Role.
Entertainment
Halliday Attributes Collaboration Hindrance To Sentiments, Others
The convener, South South Media Week, Tammmy Halliday has attributed the lack of unity and collaboration in the PortHarcourt entertainment industry to sentiments, baggages and trust issues.
He made this known yesterday, during an interview with newsmen in Port Harcourt.
According to him, some things that spur baggages are family background, personal experience with colleagues or other people, saying that when someone has been reaped or used by any of his colleagues or someone else, he might not want to work with some other persons because of trust issue.
This goes along with baggages, where he now sees his other colleagues as one and same with the one who used him and so this continues to hinder collaborations in the industry.
He advised that as an entertainer you should get better, visible and exposed as the industry required.
He said that the key factor that can help collaboration is growth, explaining that growth would make entertainers live beyond baggages, adding that if you are good at what you do, and know what you want and where you are going with it , then you are good to go.
“You can seek an advice from a legal practitioner, professional or a senior colleagues to ensure that you (entertainer) get it right.
It is not a bad idea to serve or work with someone, because you serve to rise in the industry. You have to be well rooted, but, you should be able to know want you want and where you are going with what you do, this will help you move on, when it is no longer working for you, otherwise, you will remain there and keep complaining and then it gets to that point where you begin to see that person as a reaper,” he said.
Mr Halliday who also do corporate social responsibility award via his platform, South South Media Week stated that critical communication is important in any situation, with a critical approach, no doubt you will always be on the right track.
Speaking on criteria for awarding awards, he maintained that it is on numbers, affiliations, fanbase, followership, association and sales of the person or organisation in question, saying that these also works for collaboration with an artiste, because they are factors that facilitate growth in the industry.
Categories of award that are awarded through the platform includes, entrepreneur award of the year, innovation award of the year and others.
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