As a child growing up in south-eastern Nigeria, I was al-ways thrilled at the prospect of VHS cassettes of western and Indian movies. I often skipped meals for the opportunity to see Am-erican classics such as Rambo and The Godfather, as well as Indian films like Nagina.
Across the Niger with Ukachukwu Okorie
As a child growing up in south-eastern Nigeria, I was al-ways thrilled at the prospect of VHS cassettes of western and Indian movies. I often skipped meals for the opportunity to see Am-erican classics such as Rambo and The Godfather, as well as Indian films like Nagina.
But things started to change in the early 1990s when the Nigerian movie, Living in Bondage, was released. This film, produced by Kenneth Nnebue and featuring some of the top Nigerian actors of today like Kenneth Okonkwo and Kanayo O Kanayo (or KOK), kicked off a revolution in the Nigerian film industry – affectionately known as Nollywood. As the decade went on, the appetite for Nollywood productions greatly increased.
The history of film-making in Africa began with the influence of colonialism; later on, pre-independent African nationalists used the medium to promote the message of self-rule to the masses. But today, the story of film-making in Africa has taken on a different dimension with the arrival of Nollywood, based in Africa’s most populous city, Lagos.
From the suburbs of Surulere, studios fight against the poor quality of Nigeria infrastructure to put together productions with actors from across Nigeria and beyond, which are then expertly marketed through the commercial hubs of Idumota and Onitsha to the rest of Africa. In the age of globalisation, Nollywood has grown to be the third largest mainstream film industry on earth, with an incredible 2,000 films produced in 2006 alone. And even as Africa’s economy stagnates, the industry is looking abroad to greener pastures, to reach the diaspora who have taken their love of Nollywood movies with them.
But what is the stuff that makes Nollywood tick? First and foremost is a good story, which is the cornerstone for any entertaining movie. But while most Africans certainly enjoy good films from Hollywood, it’s Nollywood films that best bring out their emotions, with a stronger reflection of their experience. They simply present a truer picture of Africans’ political and socio-cultural lives, not allowing the negative side to go unheard. Indeed, Nollywood has re-energised Africans at home and in the diaspora, helping to lift up their spirits and rekindle their lost identity.
Of course, as Nollywood has grown in stature against the odds, many critics have emerged to tear it down. Some say that it indulges in mere guerrilla filmmaking while others seek ways to curb its influence beyond the shores of Africa. But this criticism, however bad, can only serve to help the industry brace up for an evolving audience throughout the world.
So as we encourage those involved in the progress of Nollywood, I make an appeal to any investors interested in a sure profit to turn their attentions to Lagos, the focal point for the cream of Africa’s movie-making talent. Nollywood is proving to be a place for talent to shine and careers to be made. Certainly, Nollywood can make dreams come true, not least for those who would choose to support it.
Ukachukwu Okorie is originally from Nigeria. He has recently completed an MA in Globalisation at Dublin City University, and writes a weekly column for Metro Éireann
olumoukachukwu@yahoo.com
