There’s a big difference between how Hollywood audiences view Black Panther and how African audiences do.
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Articles on Nollywood
Displaying 1 - 20 of 23 articles
Increasingly slick films attracting big budgets are major features of Nollywood, the Nigerian film industry.
High action and outspoken politics meet digital-first thinking and a global hit is made.
Despite harsh laws, a growing number of African countries are representing queer life in their cinema.
A new Nigerian movie, Jagun Jagun, adds to the growing number of recent films of major cultural prestige eulogising heritage in war, bravery, and royalty.
Nigeria’s president, Muhammadu Buhari, recently signed the copyright law. Its provisions will be beneficial only if it is well implemented.
Elesin Oba, The King’s Horseman, is a film of a play by author and activist Wole Soyinka. It premieres at the Toronto International Film Festival.
From Blood Sisters to Half of a Yellow Sun, he was loved for his TV series and films as well as his novel Burma Boy.
Blood Sisters is untypical of Nollywood’s normal fair in a number of ways. It chooses thrill over romance and challenges taboos.
As ill health besets the Nigerian film and theatre legend, a tribute is in order. In his career he has always placed his country and industry first.
Nigerian filmmakers are looking at the past and remaking old Nollywood classics for a new generation.
As the Nigerian film industry advances its methods, is it in danger of alienating its poorer audiences?
The rise of the black romantic comedy in South Africa dovetailed perfectly with the advent of streaming services - creating a box office phenomenon.
In Lagos, cinema audiences don’t go to the movies for the film alone. There’s more.
Viewing Nigerian movies is seen as a trip down memory lane, a virtual journey back home and group therapy for Africans in the diaspora.
For Nollywood to fully compete at the global level, it should adopt a smart, proactive approach.
Fespaco, Africa’s premier film festival, celebrated its 50th anniversary in Burkina Faso. For African cinema to survive, it must adapt to today’s audiences and forms of distraction.
One of the most potent promoters of Nigeria’s cultural soft power is arguably Nollywood.
Big investors seem to be mainly interested in Nollywood’s already established popularity with African audiences.
The world’s third-largest movie industry in Nigeria is in danger of collapse. It is not to do with patrons staying away from the films. It is caused by a menace right in the heart of the industry.
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Top contributors
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Lecturer, University of Nigeria
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Professor, University of Gondar
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Senior Research Fellow, Development, Policy and Practice (DPP), The Open University
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Professor, Communication and Media Studies, University of Johannesburg
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Sociologist/Criminologist/Victimologist and Media Communication Expert, University of Ibadan
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Lecturer, Creative Unit, UniSA, University of South Australia
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Collaborateur scientifique FNRS, Université Libre de Bruxelles (ULB)
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Researcher and Assistant Lecturer, University of Regina
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Professor of Drama, Theatre and Film Studies, University of Jos
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Director, The Future of Diplomacy at the Institute for the Future of Knowledge, University of Johannesburg
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PhD Researcher, University of Bath
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Senior Lecturer, Stellenbosch University
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Research Fellow in Theatre, Film and Television Studies, University of Glasgow
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PhD student, University of Edinburgh
