The Nollywood Sign

$3 billion 

This is how much the Nollywood industry made in 2014. 

“Kenneth Nnebue shot a straight-to-video movie in one month, on a budget of just $12,000. Living in Bondage sold more than a million copies, mostly by street vendors, and Nollywood – Nigeria’s movie industry – was born.” (Bright 2015).

Source here.

Source here.

With 1844 movies produced alone in 2013, it is surpassing it’s fellow competition, Hollywood by volumes.With data so strong and a variety of movies being made, how does the whole planet hardly know about this?
It’s because Nollywood movies have never seen the cinema screens.

The industry is however losing out as Kunle Afolayan says that “the industry is in need of a make over”. Pirating is becoming a problem for Nigerian films all across Nigeria and other parts of Africa. Stronger laws are being put in place and campaigns are being held against them. This hoping to make the industry bloom into something even more successful globally instead of nationally.

Afolayan also makes a good point in Bright’s article when he mentions that African actors need to be exposed more globally for these movies to really break out and be even more successful.

Afolayan comments: “The revenue is already there, it’s just scattered. If stakeholders can invest in Nollywood and make back profits, it will lead to larger budgets and better quality content.”

Nollywood is quite well-known. There is a YouTube channel dedicated to the films, which shows that they have a large fan base but just haven’t been fully exposed as much as its competitors, Hollywood and Bollywood.


https://www.youtube.com/user/NollywoodLove


This success shows that it will overcome the issues made by economic and political hiccups in the 1980’s with the let down in the local currency. Okome believes that it is even more important that the desire is expressed by video filmmakers and that they should keep local stories in the narrative program of this local visual culture. “By appropriating the terms of video technology the way that Nollywood has done in the last twenty or so years, this local cinema has demonstrated to its audience and to the cinema world at large that it “has not despaired of making some kind of sense out of its own hieroglyphics”.” (Okome 2007).

Nollywood has even created their own reality television shows, fitting in with the stereotypical Americanized one.



If Nollywood can continue getting the reputation that they do in their own countries and start to expose themselves globally, they’re likely to get the credit that they deserve the most and be recognized for their talents all across the world.

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