Tunde Kelani
Twenty-one years after Chris Obi-Rapu directed that scintillating pioneer movie, Living in Bondage which was released into the market on September 8, 1992. Amarachukwu Iwuala applauds the achievements of the Nigerian movie industry, examines its challenges and proffers a number of solutions
Film-making in Nigeria dates back to colonial times. Pa Orlando Martins was the first Nigerian to act in a 1935 film by Zoltan Korda - Sanders of the River - which starred Paul Robeson, Leslie Banks and Nina Mae McKinney.
Hubert Ogunde, John Amata, Ade Afolayan, Francis Oladele, Jab Adu, Eddie Ugbomah and Ola Balogun were some of Nigeria’s earliest film-makers, who shot films on celluloid. Following a plummeting economy in the 1980s, this business suffered a setback.
In 1992, Kenneth Nnebue of NEK Video Links produced the critically acclaimed movie, Living in Bondage. Since then, and in spite of several hiccups, Nigeria’s film industry continues to grow and develop.
In 1992, Kenneth Nnebue of NEK Video Links produced the critically acclaimed movie, Living in Bondage. Since then, and in spite of several hiccups, Nigeria’s film industry continues to grow and develop.
Critical Developments
UNESCO’s Research
On 6th May, 2009, UNESCO’s Institute of Statistics (UIS) released the result of a global survey, measuring 2005 - 2006. Data were collated from 101 countries based on questionnaires and alternative sources. Results indicated that Bollywood produced 1,091 films, Nollywood made 872 films while Hollywood produced 485 films with only eight other countries; producing more than 100 films within the period under review.
Hitting the Box Office
In October, 2009, it was reported in a Sunday ThisDay newspaper that Stephanie Okereke’s Through the Glass had grossed N10 million in three weeks at the box office. The film went on to rake in a total of about N15 million by the time it ended its run in the cinemas. Films like The Figurine and Tango with Me are said to have grossed about N25 million and N40 million respectively.
Ije, which remains the highest grossing Nigerian film, made approximately N60 million at the box office. It is vital to indicate that the highest grossing Hollywood films in Nigerian cinemas make between N150 million and N200 million.
In October, 2009, it was reported in a Sunday ThisDay newspaper that Stephanie Okereke’s Through the Glass had grossed N10 million in three weeks at the box office. The film went on to rake in a total of about N15 million by the time it ended its run in the cinemas. Films like The Figurine and Tango with Me are said to have grossed about N25 million and N40 million respectively.
Ije, which remains the highest grossing Nigerian film, made approximately N60 million at the box office. It is vital to indicate that the highest grossing Hollywood films in Nigerian cinemas make between N150 million and N200 million.
DVDs
Prior to this time, Nigerian films relied mainly on the sale of DVDs. Up until today, majority of the films produced in Nollywood go straight to DVD. There are hardly reliable statistics, regarding DVD sales as many believe some marketers either hike sales figures to unduly promote their own productions or reduce sales figures so as to underpay the independent producers, who own some of the flicks they distribute. However, movies generally sell between 10,000 and 50,000 copies of DVDs while very few sell up to 100,000 copies.
Prior to this time, Nigerian films relied mainly on the sale of DVDs. Up until today, majority of the films produced in Nollywood go straight to DVD. There are hardly reliable statistics, regarding DVD sales as many believe some marketers either hike sales figures to unduly promote their own productions or reduce sales figures so as to underpay the independent producers, who own some of the flicks they distribute. However, movies generally sell between 10,000 and 50,000 copies of DVDs while very few sell up to 100,000 copies.
Film Festivals
iREP (dedicated solely to documentaries), AFRIFF, Abuja International, Eko International, InShort (short film-based), Nigerian Film Corporation’s Zuma Film Festival and Life House’s Lights, Camera, Africa!!! have become annual film festivals that promote Nollywood films except Zuma, which is a biennial festival. Abuja International, the longest running of the festivals, is currently in its tenth year. Best of the Best TV (BOBTV), an annual television and film market, is also a decade-old.
iREP (dedicated solely to documentaries), AFRIFF, Abuja International, Eko International, InShort (short film-based), Nigerian Film Corporation’s Zuma Film Festival and Life House’s Lights, Camera, Africa!!! have become annual film festivals that promote Nollywood films except Zuma, which is a biennial festival. Abuja International, the longest running of the festivals, is currently in its tenth year. Best of the Best TV (BOBTV), an annual television and film market, is also a decade-old.
Training Institutes and Centres
Again, in the past decade or thereabouts, PEFTI, Royal Roots, Royal Arts, Lufodo, the Centre of Excellence in Film and TV (Amaka Igwe Studios) plus the International Film and Broadcast Academy (IFBA) have been running hands-on trainings for established as well as up-and-coming practitioners. However, some of these institutes like Lufodo and Royal Arts Academy are less than five years old.
Again, in the past decade or thereabouts, PEFTI, Royal Roots, Royal Arts, Lufodo, the Centre of Excellence in Film and TV (Amaka Igwe Studios) plus the International Film and Broadcast Academy (IFBA) have been running hands-on trainings for established as well as up-and-coming practitioners. However, some of these institutes like Lufodo and Royal Arts Academy are less than five years old.
Graduates of the National Film Institute are well respected as cameramen, Directors of Photography and directors in Nollywood.
DelYork International in conjunction with the New York Film Academy trained more than six hundred individuals in various aspects of film-making in 2010 and 2011. At present, the firm is working on the 2013 edition of its training programme.
In 2011, the US Consulate collaborated with iREP and the Goethe Institut to conduct a workshop for screenwriters. The Goethe Institut has gone ahead to facilitate another workshop on the making of short films, a programme they hope to run periodically. Some of the graduates of these centres and institutes have produced short and feature films that have been screened in film festivals across the globe.
DelYork International in conjunction with the New York Film Academy trained more than six hundred individuals in various aspects of film-making in 2010 and 2011. At present, the firm is working on the 2013 edition of its training programme.
In 2011, the US Consulate collaborated with iREP and the Goethe Institut to conduct a workshop for screenwriters. The Goethe Institut has gone ahead to facilitate another workshop on the making of short films, a programme they hope to run periodically. Some of the graduates of these centres and institutes have produced short and feature films that have been screened in film festivals across the globe.
Film Fora
GT Bank recently became the sponsor of the Nollywood Centre, a research centre at the School of Media and Communication of the Pan-Atlantic University, Lagos. The flagship programme of the GT Bank Nollywood Centre is a monthly film forum, where practitioners forge the way forward for Nollywood. This forum joins the monthly film forum that has been holding in Amaka Igwe Studios since 2010.
GT Bank recently became the sponsor of the Nollywood Centre, a research centre at the School of Media and Communication of the Pan-Atlantic University, Lagos. The flagship programme of the GT Bank Nollywood Centre is a monthly film forum, where practitioners forge the way forward for Nollywood. This forum joins the monthly film forum that has been holding in Amaka Igwe Studios since 2010.
Awards
After The Movie Awards (THEMA) and REEL Awards became defunct, the Africa Movie Academy Awards, AMAA, has been holding annually since 2005; making it the longest running award ceremony in Nollywood, though it is an Africa-wide award.
HOMEVIDA Awards, which drives ‘creative messaging and value change’ through films, has been in existence since 2010. Apart from awarding mouth-watering prizes to films that meet their criteria, they annually fund the production of, at least, three short films by young film-makers under 30 through endowments from public and private bodies that are their partners.
After The Movie Awards (THEMA) and REEL Awards became defunct, the Africa Movie Academy Awards, AMAA, has been holding annually since 2005; making it the longest running award ceremony in Nollywood, though it is an Africa-wide award.
HOMEVIDA Awards, which drives ‘creative messaging and value change’ through films, has been in existence since 2010. Apart from awarding mouth-watering prizes to films that meet their criteria, they annually fund the production of, at least, three short films by young film-makers under 30 through endowments from public and private bodies that are their partners.
The first edition of the Africa Magic Viewers’ Choice Awards, AMVCA, in 2013 took the industry by storm and is still being discussed even as the organizers are calling for entries for the second edition of the event.
Publications and TV Programmes/Reality TV Shows
In the last few years, Nigerian Entertainment Today and Entertainment Express/Sunday Express are among the publications that have been covering goings-on in Nollywood in addition to reporting music, comedy and other related fields. By the same token, several television programmes like Jara, 53 Extra and Entertainment Weekly are fully or partly dedicated to Nollywood.
In the last few years, Nigerian Entertainment Today and Entertainment Express/Sunday Express are among the publications that have been covering goings-on in Nollywood in addition to reporting music, comedy and other related fields. By the same token, several television programmes like Jara, 53 Extra and Entertainment Weekly are fully or partly dedicated to Nollywood.
Reality TV shows like the Amstel Malta Box Office, AMBO, which was rested after five editions and The Next Movie Star have paved the way for entrants into the industry. In fact, it is not only the winners that have done well. Several of the participants in these shows are recognizable faces in Nollywood today.
Endorsements and Appointments
Several of the movie industry’s stars pocket annual endorsements in tens of millions of naira, a situation that was unthinkable twelve years ago.
Actors like Ejike Asiegbu, Nkiru Sylvanus, Bob Manuel Udokwu, Okey Bakassi (actor/comedian) and Richard Mofe-Damijo have either served or are serving their state governors as advisers in entertainment matters. Mofe-Damijo has since transited from an adviser to a commissioner in his native Delta State.
Several of the movie industry’s stars pocket annual endorsements in tens of millions of naira, a situation that was unthinkable twelve years ago.
Actors like Ejike Asiegbu, Nkiru Sylvanus, Bob Manuel Udokwu, Okey Bakassi (actor/comedian) and Richard Mofe-Damijo have either served or are serving their state governors as advisers in entertainment matters. Mofe-Damijo has since transited from an adviser to a commissioner in his native Delta State.
Remedies to the challenges facing Nollywood
Much as the current government must be commended for taking more than a passing interest in Nollywood through the N3 billion Project ACT (Advancing Creativity and Technology) Nollywood grant and the $200 million-dollar loan, a lot still needs to be done.
Much as the current government must be commended for taking more than a passing interest in Nollywood through the N3 billion Project ACT (Advancing Creativity and Technology) Nollywood grant and the $200 million-dollar loan, a lot still needs to be done.
Distribution
According to Kene Mkparu, the CEO of Film House Cinemas, there were more than 5,000 cinemas in the country before the advent of VHS in the late 1970s/1980s. Interestingly, many of these cinemas have long become warehouses and religious centres.
Mkparu observes that today, there are more than 1,600 viewing centres in Kano (Kannywood) alone and believes that community cinemas will mitigate the problem of distribution in Nollywood. These viewing centres in Kano pay film producers a few thousands of naira to obtain the exhibition rights of each of their movies.
According to Kene Mkparu, the CEO of Film House Cinemas, there were more than 5,000 cinemas in the country before the advent of VHS in the late 1970s/1980s. Interestingly, many of these cinemas have long become warehouses and religious centres.
Mkparu observes that today, there are more than 1,600 viewing centres in Kano (Kannywood) alone and believes that community cinemas will mitigate the problem of distribution in Nollywood. These viewing centres in Kano pay film producers a few thousands of naira to obtain the exhibition rights of each of their movies.
The Nigerian Export and Import Bank, NEXIM Bank, and the Bank of Industry, BOI, should also consider proposals for the establishment of community viewing centres in addition to the multiplexes that they are currently funding through the $200 million-dollar loan. This will undoubtedly cater for those at the bottom-of-the-pyramid. If this happens, everyone wins. Of course, the money grossed by a film is divided into several parts, leaving the producer with about 30% of the total money. If they fund community cinemas, there will be more revenue for the film-makers as well as more tax for the government to use.
Piracy
Piracy has to be tackled with single-minded persistence. Though it may not be possible to eradicate this malady completely, it can be curbed significantly. The Director-General (DG) of the Nigerian Copyright Commission (NCC) should devise an approach similar to that employed by Dora Akunyili in fighting the drug war, when she was the helmsman at NAFDAC. It is trite repeating that NAFDAC remains an admirable agency in their fight against fake and substandard products.
Piracy has to be tackled with single-minded persistence. Though it may not be possible to eradicate this malady completely, it can be curbed significantly. The Director-General (DG) of the Nigerian Copyright Commission (NCC) should devise an approach similar to that employed by Dora Akunyili in fighting the drug war, when she was the helmsman at NAFDAC. It is trite repeating that NAFDAC remains an admirable agency in their fight against fake and substandard products.
Funding
The N1 billion, which has been earmarked for production, in the Project ACT Nollywood grant should be judiciously used to show the way, so that organizations that might have been skeptical about investing in the industry will jettison their misgivings. If accurate data on how this fund is disbursed and the income it generates, in turn, are accessible to the public, the funding problem may become a thing of the past in Nollywood, which is presently estimated to worth over $3 billion.
The N1 billion, which has been earmarked for production, in the Project ACT Nollywood grant should be judiciously used to show the way, so that organizations that might have been skeptical about investing in the industry will jettison their misgivings. If accurate data on how this fund is disbursed and the income it generates, in turn, are accessible to the public, the funding problem may become a thing of the past in Nollywood, which is presently estimated to worth over $3 billion.
Content
The animation genre should be explored so that Nigerian children can have a taste of their own culture rather than watching only Western animations. Furthermore, children’s films can be adapted from great children’s books that have been written through the years and authors can assist by lowering the amounts required to obtain the adaptation rights.
The animation genre should be explored so that Nigerian children can have a taste of their own culture rather than watching only Western animations. Furthermore, children’s films can be adapted from great children’s books that have been written through the years and authors can assist by lowering the amounts required to obtain the adaptation rights.
Though the technical quality of films has improved in recent times, there is still the need to have quality stories and screenplays that go beyond the superficial treatment of ideas. Movies ought to stop looking and sounding alike because there are many areas of our existence, as a people, that are yet to be explored. In fact, the onus is on scriptwriters to stop being derivative – telling stories that have thematically been done to death. Then, directors need to do away with unimaginative casting. Additionally, films should not be weighed down by too much dialogue at the expense of cinematic action.
Documentaries
It is imperative for film-makers in Nollywood to study the business models of stations like Crime and Investigation, Investigation Discovery, the National Geographic channels, Animal Planet, the Discovery channel and BBC Knowledge; which are stations that run wholly or significantly on documentaries.
It is imperative for film-makers in Nollywood to study the business models of stations like Crime and Investigation, Investigation Discovery, the National Geographic channels, Animal Planet, the Discovery channel and BBC Knowledge; which are stations that run wholly or significantly on documentaries.
A renowned documentary film-maker, Femi Odugbemi, once asked, ‘Who is telling the African story and from what perspective? Can African film-makers bring a better understanding within and outside the continent with documentaries that give a more rounded definition of the African experience?’ Here, indigenous foundations can endow documentary film funds just like the Ford Foundation and a few other initiatives that have sponsored development films even in these parts.
Training and Retraining
Right now, government’s intervention in the movie industry seems elitist because Kannywood (film producers in Kano), Yoruwood (producers, who make films in the Yoruba language) and the film producers in Enugu/Asaba are hardly part of this awakening. It is not enough to invite a few representatives of these film-makers to town hall meetings in Lagos or Abuja. The government should earmark separate funds with which trainings and workshops will be organized for them at their bases and through their own associations.
Right now, government’s intervention in the movie industry seems elitist because Kannywood (film producers in Kano), Yoruwood (producers, who make films in the Yoruba language) and the film producers in Enugu/Asaba are hardly part of this awakening. It is not enough to invite a few representatives of these film-makers to town hall meetings in Lagos or Abuja. The government should earmark separate funds with which trainings and workshops will be organized for them at their bases and through their own associations.
These people produce a substantial number of films watched by the populace, but many of these movies are pedestrian. Writing in A Time for Greatness, Herbert Agar stated that “The supreme need of the hour is not for one or two outstanding figures of vision and initiative, but for high living and high thinking on the part of the common people.” Films are ideological and people will always give their own interpretations to works of art. So, our films have to be more intellectually stimulating, tasking people’s imaginations.
Increasing the number of good screenwriters and directors will culminate in a cluster of films that commence conversations on social change. This does not mean that the entertainment values of these films will be compromised. Family on Fire and The Meeting are recent films that readily come to mind in this regard.
Increasing the number of good screenwriters and directors will culminate in a cluster of films that commence conversations on social change. This does not mean that the entertainment values of these films will be compromised. Family on Fire and The Meeting are recent films that readily come to mind in this regard.
The Academia
The Nigerian academia has to give impetus to the study of film-making in Nigeria. It is time departments of Film Studies were established in our universities. It is worrisome that Femi Shaka, Nigeria’s first Professor of Film Studies, still operates from the Department of Theatre/Creative Arts at the University of Port Harcourt.
The Nigerian academia has to give impetus to the study of film-making in Nigeria. It is time departments of Film Studies were established in our universities. It is worrisome that Femi Shaka, Nigeria’s first Professor of Film Studies, still operates from the Department of Theatre/Creative Arts at the University of Port Harcourt.
Infighting in the Guilds
Another unseemly situation in Nollywood is the protracted power tussle in the guilds and associations, existing in the industry; leading to the creation of parallel guilds in some cases. This infighting occasioned by controversial elections and undue politicking is an ill wind that can never blow the industry any good. If the offices in the associations are too enticing, they should be made less so in order to attract individuals with just the intention to serve.
Another unseemly situation in Nollywood is the protracted power tussle in the guilds and associations, existing in the industry; leading to the creation of parallel guilds in some cases. This infighting occasioned by controversial elections and undue politicking is an ill wind that can never blow the industry any good. If the offices in the associations are too enticing, they should be made less so in order to attract individuals with just the intention to serve.
NFC’s annual essay competition
Though the Nigerian Film Corporation has to be lauded for sustaining its annual essay competition since 2005; an intellectual platform that allows the public to discuss the progress and drawbacks in Nollywood; the corporation needs to review the prize awards to winners of the competition. The N50,000.00, N75,000.00 and N100,000.00 of 2005 are paltry sums in today’s Nigeria.
Though the Nigerian Film Corporation has to be lauded for sustaining its annual essay competition since 2005; an intellectual platform that allows the public to discuss the progress and drawbacks in Nollywood; the corporation needs to review the prize awards to winners of the competition. The N50,000.00, N75,000.00 and N100,000.00 of 2005 are paltry sums in today’s Nigeria.
Cohesion and Collaborations
Collaborations will also take Nollywood to enviable heights. When events clash, practitioners could either shift one (if they are dissimilar) or combine such programmes if they can hold concurrently. iREP has shown a good example in collaborations. In the past, they had teamed up with the Nigerian Film Corporation, InShort, Goethe Institut plus the Lagos Book and Art Festival.
Collaborations will also take Nollywood to enviable heights. When events clash, practitioners could either shift one (if they are dissimilar) or combine such programmes if they can hold concurrently. iREP has shown a good example in collaborations. In the past, they had teamed up with the Nigerian Film Corporation, InShort, Goethe Institut plus the Lagos Book and Art Festival.
Just a few weeks ago, The Nollywood Centre of the School of Media and Communication of the Pan-Atlantic University, Lagos, postponed indefinitely the September edition of its monthly film forum because the proposed date clashes with the Abuja International Film Festival, which will be holding later this month in the nation’s capital.
In fact, like Sandra Mbanefo Obiago, Executive Director of an erstwhile production outfit, Communicating for Change, rightly remarked at a forum; Nollywood, in order to establish a culture of producing cutting edge content, has to engage the whole spectrum of the creative industry: literary, visual arts, fashion, dance, music, etc.
Conclusion
Needless to say, professionalism and cohesion in Nollywood will lead to the expansion of the film-making business with the possibility of doubling; in less than a decade; the 200,000 direct and the 1,000,000 indirect jobs that the industry currently provides.
Needless to say, professionalism and cohesion in Nollywood will lead to the expansion of the film-making business with the possibility of doubling; in less than a decade; the 200,000 direct and the 1,000,000 indirect jobs that the industry currently provides.
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