With over 1,200 video films produced each year, Nigeria has become one of the most prolific producers of film fiction in the world. This book examines how the experiences and lives of Nigerians are narrated through the storyboards of the video producers, who copy with confidence and energy the recipes and formulas of popular films.
African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in1969 the biennial Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These “Nollywood” films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema. Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a unique comparison of these two main African cinema modes.
Challenging the Assumptions of Intellectual Property
Author: Kate Darling
Publisher: NYU Press
Behind the scenes of the many artists and innovators flourishing beyond the bounds of intellectual property laws Intellectual property law, or IP law, is based on certain assumptions about creative behavior. The case for regulation assumes that creators have a fundamental legal right to prevent copying, and without this right they will under-invest in new work. But this premise fails to fully capture the reality of creative production. It ignores the range of powerful non-economic motivations that compel creativity, and it overlooks the capacity of creative industries for self-governance and innovative social and market responses to appropriation. This book reveals the on-the-ground practices of a range of creators and innovators. In doing so, it challenges intellectual property orthodoxy by showing that incentives for creative production often exist in the absence of, or in disregard for, formal legal protections. Instead, these communities rely on evolving social norms and market responses—sensitive to their particular cultural, competitive, and technological circumstances—to ensure creative incentives. From tattoo artists to medical researchers, Nigerian filmmakers to roller derby players, the communities illustrated in this book demonstrate that creativity can thrive without legal incentives, and perhaps more strikingly, that some creative communities prefer, and thrive, in environments defined by self-regulation rather than legal rules. Beyond their value as descriptions of specific industries and communities, the accounts collected here help to ground debates over IP policy in the empirical realities of the creative process. Their parallels and divergences also highlight the value of rules that are sensitive to the unique mix of conditions and motivations of particular industries and communities, rather than the monoculture of uniform regulation of the current IP system.
AFRICA IS FAILING. AFRICA IS SUCCEEDING. Africa is betraying its citizens. Africa is a place of starvation, corruption, disease. African economies are soaring faster than any on earth. Africa is squandering its bountiful resources. Africa is a roadmap for global development. Africa is turbulent. Africa is stabilising. Africa is doomed. Africa is the future. All of these pronouncements prove equally true and false, as South African journalists Richard Poplak and Kevin Bloom discover on their 9-year roadtrip through the paradoxical continent they call home. From pillaged mines in Zimbabwe to the creation of an economic marketplace in Ethiopia; from Namibia's middle class to the technological challenges facing Nollywood in the 21st Century; from China's investment in Botswana to the rush for resources in the Congo; and from the birth of Africa's newest country, South Sudan, to the worsening conflict in CAR, here are eight adventures on the trail of a new Africa. Part detective story, part report from this economic frontier, Continental Shift follows the money as it flows through Chinese coffers to international conglomerates, to heads of state, to ordinary African citizens, all of whom are intent on defining a metamorphosing continent.
Nollywood is often portrayed by the popular press as an unruly industry, with mysteriously fast and cheap production and shadowy distribution networks. In the first overview of Nigeria's burgeoning video film industry, Jade L. Miller reveals that this portrayal is over-simplistic and often untrue. Investigating Nollywood's complete global production and distribution chain, Nollywood Central presents a full portrait of the Nollywood industry as both highly organised and strategically structured. In doing so, it interrogates the position and rise of new cultural industry hubs, demonstrating how a creative industry can emerge, be sustainable and circulate globally even though it exists outside of formal global networks and government-supported infrastructure. Deepening understanding of this prolific industry while at the same time contributing to debates surrounding global flows of culture, this is a critical resource for students and scholars of Media and Communication Studies, Film Studies, Television Studies and African Studies.
Gulliver's Troubles offers the first comprehensive assessment of the post-Cold War foreign policy of Nigeria - one of Africa's most important states. Expert contributors, comprising academics and scholar-diplomats, analyse Nigeria's most vital domestic challenges and critical regional issues from historical and contemporary perspectives. Nigeria's relations with its neighbours and other significant states and regional and international bodies also come under scrutiny. The debates here, while multifaceted, share the premise that an effective foreign policy must be built on a sound domestic base and democratic stability.