Nationalist Thought and the Colonial World: A Derivative Discourse?

:The Pan African Nation: Oil and the Spectacle of Culture in Nigeria

Power in Africa: an essay in political interpretation

Interrogating diasporic identity and media: distribution flows, reception practices, and video film interpretations of Nollywood audiences in Newark, New Jersey

The fantastic in Nollywood video-film is often criticized for its representation of the supernatural. This paper develops the notion of the fantastic as an analytical tool that positions epic video-film as interventionist. By analysing two films, I interrogate the generally understood version of the space–time dimensions of epic video-films. The depiction of the ‘past’ in epic video-film, I argue, divulges more about the contradictions of linear historical time. I call this labyrinthine time, and show how this representation of time draws attention to the spatial politics in typologies of ‘village’ or ‘city’. The roles of superhero female protagonists who navigate labyrinthine space–time are key in recognizing the socio-political nature of the fantastic in Nollywood. This approach, I show, opens up questions about transforming structures of governance and negotiating technologies of being.

Interpreting the fantastic: video-film as intervention

In this article, I argue that “Nollywood” – Nigeria’s English-language video film industry, which emerged in the early 1990s – is possible because of both the postcolonial nation-state’s subjection to global capital and the various networks to which a system of global capital gives rise. Processes like these have been operating concurrently in Nigeria since at least the time of the transatlantic slave trade, but they have surfaced in Nigerian cinema culture rather unevenly. At certain historical moments, subjection to capital has played a largely determining role in filmmaking and film policy; at other times, links to transnational networks have been more instrumental. I trace what Fredrick Copper refers to as the “territorializing” and “deterritorializing” processes of global capital by looking at the role that different vectors have played in the development of a particular genre, the epic, and by looking at either side of the historical moment in which a Nigerian motion picture expert, Pete Edochie, made the transition from state motion picture production to the video film industry.

https://www.jstor.org/stable/pdfplus/10.2979/globalsouth.7.1.55.pdf

At the Threshold of New Political Communities: Some Notes on the History of Nollywood's Epic Genre

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At the Threshold of New Political Communities: Some Notes on the History of Nollywood's Epic Genre