By Lillian Okenwa
The Nigerian film industry, also known as Nollywood, is a flourishing space that not only provides an avenue for entertainment but also generates a sizeable amount of revenue for the country’s economy. In 2018, the arts, entertainment, and recreation industry represented 0.21% of Nigeria’s GDP at a value of nearly N270 billion. In the first quarter of 2019, the industry harvested about N87 billion which accounted for 0.27% of the country’s GDP. The Nigerian box office also contributes significant value. In 2017 for instance, N4.3 billion was realized and is expected to grow to an estimated N6.4 billion by 2022.
Yet, despite dwindling oil resources and the need to diversify the economy, industry watchers marvel that this thriving industry remains untapped by the government.
Nollywood produces about 50 movies per week, second only to India’s Bollywood—more than Hollywood in the United States. Although its revenues are not at par with Bollywood’s and Hollywood’s, it still generates an impressive $590 million annually. But beyond the economic benefits of Nollywood, analysts are of the opinion that the content of the movies should be more intentional and strategic. They contend that having a focus, an aim, or a specific target, driving the production of these movies will yield better fruits. The Zambian High Commissioner to Nigeria, Dr. Solomon Jere, points out that as popular as Nigerian movies are all over the world, “one thing which has not been fully controlled is the content of the film industry.”
Notably, the Nigerian movie industry is supported by different personalities, who bring cultural diversity; creativity, and panache that have led to its growth and evolution. The impact and reach of Nigeria’s entertainment industry were brought nearer home to this reporter in 2017. As we went sightseeing downtown Freeport, Grand Bahamas, that warm November afternoon in 2017, nothing prepared my colleague and I for the reception we were about to receive in some of the places we visited.
It was the triennial conference of the International Federation of Women Lawyers (FIDA) and female lawyers from around the world had ‘occupied’ the city. Nigerians as in many international events outnumbered all the participants. It is doubtful that the city had ever been besieged by that number of visitors at a time, particularly women; women lawyers. About eight hundred were in attendance. As you walk into a shop, the first question after the hellos, is —“where about are you from?” In a number of places we visited, the mention of Nigeria created some excitement. “Oh! Nigeria! You must be so many. Some of your colleagues were here earlier.”
And to our shock, they even proceed to initiate conversations about Nollywood, mentioning names of their favourite Nollywood actors and actresses. That is just a fleck of how far Nollywood and Nigeria’s music industry have travelled. But that is on the positive side. Stories abound of the negative perception Nollywood has created about Nigerians. But should Nollywood be blamed over some of the negative ways the world see Nigerians? Can they do the opposite and shape a fully dimensional image of Nigerians? Is painting a more realistic picture feasible? People’s lives are shaped by their culture and this culture has reflected in Nigeria’s movie industry, Nollywood.
It’s not in doubt that what stands the industry out is its resilience in the face of a harsh economy, inadequate and sometimes non-existent infrastructure. However, the industry has grown and has consistently told the story of the Nigerian state, society and its people. The Nigerian film industry has been able to portray an image of the Nigerian society or in other terms the image of the Nigerian people and state, which is the reason why the Nigerian motion picture industry has been a beehive of activities, research, investments, and visits, and so on. Over the years, the industry has promoted certain identities and images about the country which has either boosted or flawed the country’s reputation. The Nigerian motion picture industry is an -image-maker for the Nigerian State.
As a BBC World Report once mentioned, the Nigerian film industry “has turned the lights on Africa cinema.” Reports abound that Nollywood is what is on air in Kenya, Tanzania, Ghana, Zambia and many countries in Africa. In the Caribbeans, the Pacific, as far as New Zealand and Australia, Nollywood is popular. This was corroborated by Jonathan Haynes, in his paper titled “Nollywood: What is in a name?” where he said Nigerian films are everywhere. “Invariably, many want to copy the Nigerian example. This is mainly because the industry has helped the nation to grow, and it is the trailblazer in third world cinema,” he concluded.
The export of Nigerian films has been remarkable, even if most of the profits do not end up
in the right hands. They are what is on television in Namibia and on sale on the streets in Kenya. In Congo, they are broadcast with the sound track turned down while an interpreter tells the story in Lingala or other languages. In New York, their biggest consumers are now immigrants from the Caribbean and African Americans; not only Africans. And Chinese people are buying them too. So, like Hollywood held sway in Africa years ago, Nollywood burns bright and threatens to use up all the oxygen that the Ghanaians and others across Africa need to sustain their own film cultures. Once colonized by Hollywood and Bollywood, Nigeria now may seem to others to be a cultural imperial power. Through stories, narrative and the power of Nollywood, Nigeria can show it is above the negative press being generated.
While many Nollywood movies have themes that deal with the moral dilemmas facing modern Africans, the emphasis on voodoo and criminality has shaped the perception of other nations about Nigeria. And that is the danger of a single story. In the 2009 TED Talk by Chimamanda Adichie, titled “Danger of a Single Story”, the author, in her twenty minute video, described the powerful impression the many British stories she read as a child made on her while growing up in Nigeria. She reasoned that inherent in the power of stories, is a danger—the danger of only knowing one story about a group.
On a micro-level, the danger of a single story is that it prevents people from authentically connecting with people as individuals. On a macro-level, the issue is really about power. Almost by definition, there are many stories about the dominant culture so the single-story threatens to create stereotypes that stick to groups that are already disempowered. Adichie’s video raises posers that fit directly with the challenges created by focusing on particular storylines instead of diversifying and showcasing the rich culture, way of life and the ‘can do spirit’ of the average Nigerian.
It has been said that defining oneself and the groups to which one belongs often means distinguishing “us” from “them.” Consequently, analysts contend that beyond churning out numerous movies and raking in loads of revenue, Nollywood and its stakeholders might need to begin a re-examination of their focus with questions like:- “Who am I?” “To what extent am I able to define myself?” “How do people see me?” “What labels do others place on me?” “What do I hope to achieve?”
Industry watchers insist that Nollywood cannot continuously write one-dimensional character; the wicked mother-in-law, lazy gateman, driver or seductive house-girl from a certain part of the country; witchdoctors and witchcraft; Pastors or Imams being the solution to all problems with less emphasis on hardworking, enduring and many other flattering aspects of the Nigerian life in spite of harsh realities. The story of Aba where nothing is impossible, where every conceivable product could be manufactured with little support has made several international headlines. Young techy Nigerians in different phone and computer villages have continued to amaze. Mike Zukerberg was amazed when he saw what young techy Nigerians are doing. These young Nigerians have produced amazing appliances, and have gone ahead to win trophies in international competitions covering sundry fields. Surely, there are more than enough stories that could be intentionally curated to entertain and educate viewers about Nigeria. Nollywood has the capacity.
Today the South Korean movie industry is among the richest and sought after in the world. The government invests so much in the industry that there’s presently a lot of incentives for Seoul to bolster their soft power and attract more foreign tourists to South Korea. The movies have attracted attention to their fashion, style and culture all over the world. Korean movies successfully create emotional connections with viewers. Characters are developed and brought through trials and tribulations in such a way that the audience relates to the characters and feels the same emotions.
Statista.com’s Willem Roper wrote that in February 2019, the South Korean film “Parasite” took home multiple Academy Awards on, including the first-ever “Best Picture” award received by a foreign film. That according to him highlighted a rapidly growing film industry in South Korea that is gaining more worldwide recognition. “Box office revenue for films made in South Korea has skyrocketed over the last decade and a half. In 2004, the country produced a total domestic film revenue of 239 billion South Korean won. Roughly $203 million in U.S. dollars. For 2019, the total revenue of Korean films was 971 billion South Korean won – or roughly $823 million U.S. dollars. While that is still short of the $11.3 billion U.S. film industry, it is certainly a significant portion of the global $42.5 billion film industry.
“Over half of the total box office revenue in Korea was collected by domestic films, with 1.91 trillion South Korean won – or $1.62 billion U.S. dollars – coming from both domestic and foreign films in South Korea for 2019. Government and culture initiatives in South Korea have played a large role in amplifying cinema in the country, with more [consciously produced] films being released globally than ever before. The country now has one of the five largest film industries in the world, trailing the U.S. and China and at par with Japan and the U.K,” said Roper.
Presently, South Korea is the biggest cultural exporters in the world, using their movie/entertainment industry. Their movie industry is now learned in schools. It is equally one of the first non-American shows to come on Netflix. Through a concerted effort of the government and movie/entertainment industry, they became a a powerhouse, going on to win an Oscar in 2019. In conclusion, it is expedient that reference be made to excerpts from our interview with Dr. Solomon Jere, Zambia’s High Commissioner to Nigeria.
