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Showing posts with label Nollywood. Show all posts
Showing posts with label Nollywood. Show all posts

14 February 2023

Michelle Bello: Before Valentine’s



Michelle Bello
Before Valentine’s
Nigeria - Comedy - 111min - 2022


Nollywood film streaming on Netflix February 2023

Synopsis
While preparing for the most romantic day of the year, four hairdressers at a Lagos salon face wild dramas in their love lives and their families.





10 January 2023

Peace Anyiam-Osigwe (1969-2023) has passed away. Founder of African Movie Academy Awards (AMAA), she was an important voice in the Nigerian film and entertainment industry

Peace Anyiam-Osigwe has passed away

Founder of African Movie Academy Awards (AMAA), she was an important voice in the Nigerian film and entertainment industry


Peace Anyiam-Osigwe, a lawyer by training and CEO of the African Film Academy and founder of the African Movie Academy Awards (AMAA), has a grassroots view of the purpose of Nollywood: to make films for the masses, not the elite. As she points out in the film, This is Nollywood, “what you have to remember about this society is that there are people in Africa who live on one dollar a day and these are the people that really watch these films.” During the 2015 AMAA gala, she underscored the importance of looking outward to the Global African diaspora: “Black people are everywhere…there is no need just to sell what you have here. When you go to the Bahamas, when you go to Barbados, when you go to Haiti you are going to see Nigerian movies.”


The goal of the African Film Academy is to ensure that there is training and funding for filmmakers in order to produce films so that the world may have a positive view of Africa.


Dorothee Wenner’s Nollywood Lady, features Peace Anyiam-Osigwe, as they navigate through Lagos, the capital of this vibrant, dynamic and dramatic moving-image phenomenon.

05 October 2022

On new voices in Nollywood: female agency and value in selected Nigerian movies - Chinenye Amonyeze & Ogochukwu Agbo



On new voices in Nollywood:
female agency and value in selected Nigerian movies
Chinenye Amonyeze & Ogochukwu Agbo

Abstract
In recent times female Nigerian filmmakers have integrated an array of counter interventionist measures in their movies in a bid to undercut patriarchy’s narrative primacy. This study investigates feminist responses to toxic masculinity in critical and commercially acclaimed Nigerian films, revealing how three female Nigerian directors leveraged their authentic experiences to demonstrate women’s social capacity without threatening patriarchy directly. The study analyzes how young female moviemakers deploy art as a narrative of struggle against a limiting sexist frame. Based on findings culled from visual research and dramaturgical analysis, the paper explores how three Nigerian movies, Omoni Oboli’s Wives on Strike, Stephanie Okereke Linus’s Dry, and Remi Vaughan-Richard’s Unspoken, pioneer social change through the stories of young people battling to survive in a sexist space. The study focuses on blockbuster Nollywood movies challenging misogynistic narratives, and contextualizes the process through which Nigerian movies construct the identity of the “Other” within dominant discourse.

Cogent Arts & Humanities, 9:1, 2064080,
https://www.tandfonline.com/doi/pdf/10.1080/23311983.2022.2064080
Published online: 12 April 2022

18 October 2016

Female Narratives in Nollywood Melodramas by Elizabeth Johnson, Donald Culverson

Female Narratives in Nollywood Melodramas
by Elizabeth Johnson, Donald Culverson
Lexington Books, 2016

Female Narratives in Nollywood Melodramas addresses if this is a good or bad promoter of critical consciousness, as many of the films depict the stifling of women. The authors examine nine Nollywood melodramas through Black feminist, cultivation, audience reception, and social identity theories. Readers will gain an understanding of how Nollywood is a product and contributor to evolving processes of globalization. Recommended for scholars of film studies, communication, African studies, and women studies.


Table of Contents

Foreword: The Promises and Challenges of Female Narratives in Nollywood Melodramas: A Sociocultural and Theoretical Exploration
by Dr. Emmanuel C. Alozie

Introduction: Overview of Nollywood Melodramas

                                     Alternative Frames for Viewing and Thinking about Nollywood Films

                                    The Women of Nollywood: Suffering and Agency

                                 Differential Access to Nollywood Films

                                    Female Directors and Producers of Nollywood Films

                                    Conclusion

                                   Appendix A: Themes of Suffering Seen in the Films

                                 Appendix B: Themes of Agency Concluded in the Films

                                  Appendix C: Film Festivals

                                  Appendix D: Female Filmmakers

                                  References

                                  Index

                                   About the Authors



Related link on the African Women in Cinema Blog

05 July 2016

Amaka's Kin - The Women Of Nollywood, a documentary by Tope Oshin

Amaka's Kin - The Women Of Nollywood, a documentary by Tope Oshin


Dedicated to the memory of Nollywood Amazon Filmmaker Amaka Igwe (1963-2014), Amaka's Kin chronicles the journey and challenges of the very few female Directors working in the Nigerian motion picture industry popularly known as Nollywood.

In a terrain otherwise tagged as "for men", Amaka's Kin seeks to examines the careers of the very few female directors practicing in the very male dominated Nigerian film industry, widely known as Nollywood; their journey and pain, their joys and the challenges and hurdles they had to jump to become directors of film, and by extension celebrates the success of the career of the most prominent female director of film, the late Amaka Igwe, who was pivotal to the growth and development of Nollywood and indeed an inspiration to The Women of Nollywood.

Amaka’s Kin – The Women of Nollywood features Nollywood's leading women directors: Mildred Okwo, Omoni Oboli, Lowla Dee, Blessing Effiom Egbe, Ema Edosio, Adeola Osunkojo, Stephanie Okereke, Michelle Bello, Jadesola Osiberu, Patience Oghre Imobhio, Belinda Yanga-Agedah, Tope Oshin



Profile of Tope Oshin (Source: topeoshin.com)

Tope Oshin who has been named one of Africa's Leading Women, Nigeria's Most Inspiring Women, and on the Top 7 Power Women in Nigerian Film, is a multiple award-winning motion picture professional who studied Theatre Arts, T.V & Film Production from the Lagos State University, Nigeria, and then Filmmaking at Colorado Film School, USA, and also an alumni of Berlinale Talents and Talents Durban.

She directed 350 episodes of Africa's biggest daily soap opera Tinsel and 96 episodes of popular African tele-novella Hotel Majestic. Other credits are multiple award winning films, and soon-to-be-released documentary Amaka’s Kin.

Among her producing credits are 26 made-for-TV movies, talk shows, the soap opera - Tinsel (as Box/Content Producer) and 2015 BFI premiered theatrical feature Fifty directed by Biyi Bandele, amongst others. She has also cast several projects and notable among them are MTV Europe’s drama series Shuga 3 & 4.

Within her experience as Supervising Producer and Production Consultant, she has accepted and reviewed over 40 screenplays from writers and filmmakers in readiness for production. Also consulted on and supervised the production of over 25 TV film productions, working with over 26 young filmmakers to develop their projects from concept to final cut; and also lent her voice and skill as a facilitator at several film and storytelling workshops in Nigeria.

Tope, who has served as Juror for the International Emmy Awards 2015, Eko International Film Festival 2015, and the AMVCA (Africa Magic Viewers Choice Awards) 2016,  has been featured on CNN twice; on CNN'S INSIDE AFRICA and CNN.COM, and also on German TV, DW Deutshe Welle TV while attending Berlinale 2015.

Currently working underground developing her next film and tv projects, Tope is open to international collaborations and partnerships.

Related links on the African Women in Cinema Blog


13 July 2015

The women behind the camera: Female entrepreneurship in the southern Nigerian video film industry by Alessandro Jedlowski


The women behind the camera: Female entrepreneurship in the southern Nigerian video film industry by Alessandro Jedlowski

The pre-publication draft of “The women behind the camera: Female entrepreneurship in the southern Nigerian video film industry” by Alessandro Jedlowski of the University of Liège is available for viewing at the academia.edu website. It will be published in the forthcoming, book Cultural Entrepreneurship in Africa. Eds. U. Röschenthaler and D. Schulz. New York: Routledge].


Abstract

In the academic debate about the southern Nigerian video industry (Nollywood), the role of women has generally been underestimated. Articles that focus on the connection between women and the video industry tend to analyse the discourse about gender that videos produce and circulate and see the videos as propagator of sexist and patriarchal stereotypes about women and their place in society. Some analysts have nuanced these criticisms by showing the variety and complexity of the gender discourse that videos circulate, and by emphasizing that the video stories make new forms of female social mobility visible. However, almost no attention has been given to the analysis of how the industry, as a form of business, has opened new spaces for women’s economic and social mobility. In this chapter I make an attempt at addressing this gap by focusing on the experience of a number of women who have successfully established themselves as entrepreneurs in the southern Nigerian video industry. Thanks to their specific business strategies, they have created new spaces for female economic and social mobility in this sector, and have gained pronounced social visibility, thus contributing to the construction of the collective imagination of women’s social and economic success. Read article in its entirety at academia.edu.

27 May 2014

Amaka Igwe, renowned Nollywood producer (1963-2014)


Amaka Igwe, renowned Nollywood producer (1963-2014) Celebration of her life

Amaka Igwe, Nigerian Writer, Director and Producer, and CEO of Amaka Igwe Studios. A visionary and pioneer of modern Nigerian TV drama and movie production, she stamped her authority on numerous roles she played in the Nigerian television sector, as well as the home video industry, known as Nollywood.

SEE CELEBRATION OF AN AMAZING LIFE: http://www.amakaigwe.ng/

Remembering Amaka Igwe (The Nation)

Amaka Igwe Burial (The Street Journal)

Also see:

14 November 2011

Agatha Ukata: Researching Women in Nollywood

Agatha Ukata, a professor at the American University of Nigeria, completed her doctoral studies at the University of Witwatersrand in 2010. Her PhD thesis “The Images(s) of Women in Nigerian (Nollywood) Videos”, examines female representation in Nigerian cinema. She has published widely on the topic of gender and Nollywood.

Agatha, what inspired you to do research on the representation of women in Nollywood?

What informed my interest in the study was borne on the fact that the depiction of women in one of the first Nollywood videos that I watched which was Glamour Girls, typified women in very outrageous ways that tried to feed on the stereotypes of women in Nigeria and by extension African societies. It seemed as though women have nothing good to contribute to the society other than destroying moral values, which I strongly have a problem with. With such a portrayal I began to interrogate the rationale behind such representations of women.

What was the purpose of your doctoral study?

The aim of the study was to explore the different ways in which Nigerian home videos capture women within the cultural values of the Nigerian society. This can be examined in the binary of positive and negative representations. For instance, what constitutes a negative representation going by the Nigerian culture is when women are represented in roles as home breakers, thieves, murderers and the like, which deviates from those which are guaranteed in the moral ethical values of the society. On the other hand, positive female roles are those that explore women as morally upright, hardworking, industrious and making meaningful contributions to their families and society. Furthermore, the positive image of the Nigerian woman is that which captures her as making economic and political contributions to the nation. The study attempted to discern what the ideas of representations of women in films involve. Going by Stuart Hall’s definition of representation as being a necessary aspect of the process whereby members of a culture can create and exchange meaning among them which is all inclusive of the use of ‘language, the signs and images which stand for or represent things’. Thus it behooves on the critic of representations to fashion out what levels of representational distinctions apply to a given study and to which point, Hall’s differential accounts of ‘reflective, intentional and constructional’ posits as an entry point into the interrogation of representations. Reflective tends to question if language merely reflects existing meaning which is out there in the world in terms of ‘objects, people and events.’ Intentional seeks to know if language expresses what the ‘writer or speaker or painter’ intends to say. The constructionist interrogates how meaning is constructed within and through language. The study also closely looked at how representations are achieved in these videos.

There has been other research focusing on women and Nollywood, however your elaboration in a doctoral thesis entails more in depth research. What was your approach to the study?

The analysis of the films of the study tried to expose the different ways in which women are explored in these videos. It was done with a view to ascertaining depictions of women, whether it is in line with the cultural approved image which seeks to represent women as virtuous (good women who are seen as a gift to their families and the society), or on the other hand, if they are represented as femmes fatales (dangerous women). Although, there are a few studies which have tried to address the issue of female portraiture in some Nigeria home videos such as those done by Camela Garritano (1996), Onookome Okome (2004), and the duo Ebele Eko and Imoh Emenyi (2002), the justification for the study was because so much still needed to have been done in the area of female representations in the Nigerian videos, given that these works are articles, which limits the critics from covering various issues in the area. These limitations gave rise to this study. In line with the above patterns of representations, the study among other issues, interrogated the following:
  1. How women are represented in Nigerian home videos.
  2. What the implication of such representations are.
  3. How representations affect the larger society of Nigeria and beyond.
  4. The extents to which visual aesthetics and cultural codes are used in the films of study to either portray women in negative or positive angles.
What were your theoretical framework, methodology and findings?

In this study, I also attempted to look at female subjectivity in terms of how roles are structured within films, in ways which are peculiar to only women and not men. This was done in order to investigate why women's roles are mostly captured in domestic spaces which show them as a marginalized group whose functions in some of the films cannot go beyond those of being mothers, housewives, and other related roles. At the same time and space in contrast, men are depicted mostly as leaders both in military and civilian spheres of rulership, and successful businessmen. Besides I also examined feminist criticism and the mother Africa trope’s interrogation of the stereotypes of women in these home videos in line with the cultural values of the Nigerian society. The portrayal of women in these videos demand great scrutiny to identify the image of women which will have adverse effect on them and to which point it does, and also appeal for concerted effort to be geared towards reordering this trend in this fast growing popular media. The study sought to inquire into the various portrayals of female characters, both positive and negative, in some selected Nigerian videos. This was done with the view to ultimately making a case for the improvement in the portrayal of women. Besides, an effort was made to examine the portrayal of women both positive and negative in major films in Nigeria. A more careful examination was made on the following films: The Tyrant 1 and 2 (2003/4), Masters Strokes (2004), I was Wrong (2004), More than a Woman 1 and 2 (2005) and Omata Women (2003).

What have been the responses to your research?

I have taught Nollywood at the University of the Witwatersrand but not with specific focus on gender issues, aside sometimes alluding to how gender roles are constructed in the videos. However, my audiences in conferences have reacted to the debased ways that women have continued to be portrayed in Nollywood videos. Some participants in various conference panels where I have presented on women concerns in these videos have tried to also reason on my lines of arguments in terms of trying to know if such representations have to do with male biases and anxieties? Or if it is just a way of creating images of women in ways that would shock patrons’ sensibilities in order to get people to buy the videos. Overall, many people agree to the fact that despite few isolated cases which might seem to have a bearing with how women are in the society, women's representations in Nollywood videos is outrageously out of proportion of what women really are. This to me begs the question why women have continued to receive such representations in this fast moving industry. Especially because I feel that there is a sense in which representations set the pace for reading women in particular societies.

Interview with Agatha Ukata by Beti Ellerson, November 2011

Related Link on the African Woman in Cinema Blog


20 October 2011

Redefining Women in Nollywood

Redefining Women in Nollywood by BENJAMIN NJOKU/Vanguard20 October 2011. Republished from vanguardngr.com

What is the place of women in the Nigerian film industry? How much has the industry helped in the empowerment of the womenfolk? Is it that the women have been portrayed in a bad light or that, they are made to be victims of systematic discrimination and stereotypes in Nollywood?

These are some of the questions, Dr. Akin Alao of the History Department, Obafemi Awolowo University, Ile Ife, attempted to answer last week, while delivering a position paper at the just concluded 5th edition of the Festival of Indigenous African Language Films,(FIAF), held in Akure, the capital city of Ondo State.

His paper titled “Women Empowerment in Nigerian Film industry”, basically attempted to redefine the place of women in the nation’s movie industry. He acknowledged the fact that the film industry performs dual functions as it concerns the image of women. First, the industry mirrors the society as it is, showing the sex role division and secondly, reflects the roles which are believed to be appropriate for women.

For the university don, taking a holistic look at the industry, admitted that the Nigerian film industry has been reinforcing the social reality of stereotyping women, which he blamed on the media.

According to him, this stereotypical depiction of women in the media is a common phenomenon in Nigeria and such that reinforces dis-empowerment status in the society.

Alao, therefore advocated the need for the film industry to activate a considerable amount of attitudinal change favourable to women by attempting to set agenda or new roles women for women in other for them to effectively play their part in the twenty first century development agenda.

While calling for a greater valuation and esteem for the female gender, the lecturer stressed the need for women to move from just being actresses to moving into the more technical areas of film making which include; directing and production among other things.

“This is what communication scholars refers to as Agenda setting function of the media. The whole idea of agenda setting in the media centres on media directing the opinion of the public along the socially accepted or approved lines. Since the 1975 UN conference on women, the world has come to recognise officially women as vital development partners in the world economy.”

“That a woman could occupy central role in development agenda has been accepted at least on paper. Using the film industry, we could promote this expected role of our women until we achieve the set objective for women empowerment in our society.”he argued.

Continuing he added that “Since the whole concept of empowerment is dependent upon self-actualisation and confidence to independently take decisions without recourse to men as masters, if women are portrayed in a new light through home videos. It would have a profound implication for their status in society.”

‘In his own paper,Professor Onookome Okome of the Department of English and Film Studies, University of Alberta, Edmonton, Canada, who delivered the guest lecture, reinforced the need to pay more attention to the context and content of film practice in contemporary Nigeria.

In his lecture titled “Language and Indigeneity in Nigerian Cinema”, Okome drew attention to the need to properly interrogate the phenomenon of “culture” with a view to coming to terms with its complexity, dynamism and pluralism especially when viewed against the backdrop of its enduring manifestations in Nigerian Cinema.

He also called for attention on the role of the travelling theatre tradition, the celluloid films and tele-drama for the development of contemporary Nigerian video film industry. Regardless of the language of its expression and cultural background, Nigerian films,he argued, have contributed remarkably to the world cinema and the economy of Nigeria and perception of Nigeria by the outside world. There is, therefore, the need to build upon this success and address various challenges in the industry, some of which came to the fore during the question and answer session.

The Festival, which ran from October 2nd through 5th, was declared open by Dr Olusegun Mimiko, the Executive Governor of Ondo State, accompanied by his wife, Mrs Olukemi Mimiko, and members of his Cabinet.

In his remarks, Mimiko noted that the film medium is a key propagator of indigenous languages and cultural values which needs to be cultivated towards achieving meaningful development.

According to him, for development to be meaningful and sustainable, it needs to be grafted upon cultural values of the people, drawing examples from Asian countries like Malaysia, Japan, Korea and Singapore. Such values include honesty, hard work, unity and a sense of the community as against individualism being glorified by liberalisation and globalisation.

Redefining Women in Nollywood by BENJAMIN NJOKU/Vanguard 20 October 2011. Republished from vanguardngr.com

25 August 2010

Emem Isong's Contribution to Nigerian Cinema


Emem Isong is among an increasingly long list of women who are making important contributions to the burgeoning movie-making industry in Nigeria. Nollywooduncut.com features her in an interview published on 14 March 2010. READ THE INTERVIEW: EMEM ISONG THE STORY BEHIND THE GLORY

In addition to her role as director and producer, Emen Isong wears the additional hat of director of the acting school, Royal Arts Academy. Journalist Azuh Amatus of Nigerian Best Forum, devotes an article to the school opening:

After several years of planning, researching and fine-tuning arrangements, leading female producer in Nollywood, Emem Isong, has finally opened her long-awaited acting school. Known as Royal Arts Academy, the Surulere-Lagos-based institute, according to Isong, will seek to continually provide education through the arts.
It is also a training academy that offers courses on various aspects of the film industry with emphasis on script writing, acting, directing, dance and children theatre. Speaking on her reasons for establishing the academy, Isong argued that is has become necessary to improve and develop skills in order to meet the international standards of film making. READ THE ENTIRE ARTICLE

Emen Isong's films include Guilty Pleasures and Uyai which she produced, and directed with Desmond Elliot.

Guilty Pleasures (2009)

Uyai (2008)

10 June 2010

Women of Nollywood: Amaka Igwe and Peace Anyiam-Osigwe


Behind the fascination with the Nollywood phenomenon are women who have played a critical role in its evolution into an international “must see”.

Amaka Igwe (1963-2014), who was trained in theater arts, has produced movies, series and soap operas for television, film and video. In the 1990’s the immensely popular soap opera, Checkmate catapulted her to national renown and is among the standard-setting works for Nollywood productions. Her short film, The Barber’s Wisdom is one of the few shot on celluloid among contemporary Nigerian filmmakers, which attests to the popularity of the home video movement from which Nollywood evolves. In addition to the central role she plays as filmmaker, Igwe is an important stakeholder in the Nigerian film industry. She is founder and organizer of BOBTV the acronym for Best of the Best TV, a film and television program market held annually in Abuja, Nigeria. In addition, it is a venue for meetings, conferences and workshops related to film/video.


Nollywood Lady (2008) featuring Peace Anyiam-Osigwe by Dorothee Wenner
Women Make Movies

Peace Anyiam-Osigwe (1969-2023), a lawyer by training and CEO of the African Film Academy and founder of the African Movie Academy Awards, has a grassroots view of the purpose of Nollywood: to make films for the masses, not the elite. As she points out in the film, This is Nollywood, “what you have to remember about this society is that there are people in Africa who live on one dollar a day and these are the people that really watch these films.”(1) The goal of the African Film Academy is to ensure that there is training and funding for filmmakers in order to produce films so that the world may have a positive view of Africa.(2) Dorothee Wenner’s Nollywood Lady, features Peace Anyiam-Osigwe, as they navigate through Lagos, the capital of this vibrant, dynamic and dramatic moving-image phenomenon.

But before Amaka Igwe and Peace Anyiam-Osigwe, there was Lola Fani-Kayode, pioneer producer of Mirror in the Sun, one of Nigeria’s most successful television soap operas. In the mid-1980s Amaka Igwe recalls being immersed in the weekly episodes at 8 o’clock each Sunday night.(3) This seminal program was the impetus for her classic series, Checkmate.

Notes

(1) Klappe auf in Afrika (Interview clip, Berlinale 2010)
(2) Klappe auf in Afrika (Interview clip, Berlinale 2010)
(3) Who Defines Quality - Amaka Igwe (Africans Make Movies) NO LONGER ACTIVE

Related links on the African Women in Cinema Blog
Agatha Ukata: Researching Women in Nollywood

*Reflects name change of Peace Anyiam-Osigwe
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