By Matthias Krings, Onookome Okome

Global Nollywood considers this primary really African cinema past its Nigerian origins. In 15 energetic essays, this quantity strains the engagement of the Nigerian video movie with the African continent and the remainder of the area. themes resembling Nollywood as a theoretical build, the improvement of a brand new, severe movie language, and Nollywood’s transformation outdoor of Nigeria exhibit the wider implications of this movie shape because it travels and develops. Highlighting controversies surrounding commodification, globalization, and the improvement of the movie on a much broader scale, this quantity supplies sustained consciousness to Nollywood as a uniquely African cultural production.

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Franco Sacchi. Eureka Film Productions et al. (United States). 2007. Xala. Dir. Ousmane Sembène. Films Domireew (Senegal). 1975. Pa rt on e Mapping the Terrain on e From Nollywood to Nollyworld: Processes of Transnationalization in the Nigerian Video Film Industry A l e ssa n dro Jedlowsk i In the past ten to fifteen yea r s, the Niger ia n video industry has grown exponentially. According to a UNESCO report released in 2009, it is now the second-largest film industry in the world in terms of the sheer number of films produced.

Ben Addelman and Samir Mallal. A M Pictures (Canada). 2009. Osuofia in London, 1 and 2. Dir. Kingsley Ogoro. Kingsley Ogoro Productions (Nigeria). 2003, 2004. Peace Mission. Dir. Dorothee Wenner. Women Make Movies (Germany and the United States). 2008. This Is Nollywood. Dir. Franco Sacchi. Eureka Film Productions et al. (United States). 2007. Xala. Dir. Ousmane Sembène. Films Domireew (Senegal). 1975. Pa rt on e Mapping the Terrain on e From Nollywood to Nollyworld: Processes of Transnationalization in the Nigerian Video Film Industry A l e ssa n dro Jedlowsk i In the past ten to fifteen yea r s, the Niger ia n video industry has grown exponentially.

1 25 26 A l e ssa n dro J e dl owsk i The Nigerian video film industry has long had a transnational dimension. Thanks to the informality of Nollywood’s distribution networks, pirated copies of Nigerian videos have circulated throughout the world since the mid-1990s. This informal transnationalism has played an important role in making the industry recognized on the African continent and on the global cinema stage. The main thesis explored in this chapter is that once the domestic video market started to implode under the strain of excessive informal practices and the lack of a formal distribution network, an important section of the industry decided to target the transnational audience generated by the global informal circulation of Nigerian videos.

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