CHAPTER ONE

INTRODUCTION

1.1. BACKGROUND OF THE STUDY

Nollywood films have gained widespread prominence, especially within the African continent, since the advent of video filmmaking in Nigeria, which has developed the Nigerian video film industry, ranking it the third largest film industry in the world. Although this development gives global recognition to Nollywood’s feedback and contributions to the entertainment industry through its representation of the African continent, there is an urgent need for Nollywood to be repositioned to promote the place of home videos in socio-political, cultural and traditional activities, security and national development. According to Kunzler, Nollywood films are an industry that has grown out of a domestic and foreign cultural, technological, and political background. It is heterogeneous in nature and can be loosely split into video films by Yoruba, Hausa and Igbo that designate their production centers in Nigeria’s South-West, North and South-East respectively (Kunzler, 2017). The Nollywood of Nigeria remains the dominant film industry in Africa that is able to advocate the film projection of Nigerian cultural values. Via the efforts of the European merchant, colonial government and the church, Nollywood’s production dates back to the colonial period (Ibie, 2014). The first viewing experience in Nigeria was at the Clover Memorial Hall in Lagos on August 12, 1903 (Uchegbu, 1992). In terms of quantity, the industry that began as a joke now ranks and competes with Hollywood and Bollywood (Fafiolu, 2013); locally outsell international ones and are still appreciated worldwide (Akpabio, 2017).

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