Nollywood has experiences one of the most significant impacts of globalisation within the global film industries and is now recognised as the 3rdlargest film industry in the world; selling roughly 50,000 copies of around 30 new titles movies per week. As discussed in the following reliable sources, directors of Nollywood films have learnt to adapt new technologies to their films as soon as they become affordable and hence are perceived as rare and intriguing.
Okome, Onookome 2007, ‘Nollywood: spectatorship, audience and the sites of consumption’, Postcolonial text, vol. 3, no. 2, pp. 1-21
This source looks at Nollywood’slocal audience and the way it consumes Nollywood. The concept of Nollywood originated in Lagos in Nigeria and only began to get recognition in 2000 when the films were entered in international film festivals. In 2002 Jane Bryce introduced Tunde Kelani, the camera man and producer of many Nollywood films to the Second edition of the Festival of African and Caribbean Film and was eager for the anticipation of audience’s reactions to Nollywood films. Since then, their films of unqualified success have become “common talk” among fans and media students, however, as discussed by Pierre Barrot in some of what is said to be the most salient arguments is that it is still believed that Nollywood regularly faces issues of non-recognition, including the fact of its domestic market being too small. The source additionally discussed Karin Barber’s recognition of the lack of recognition and involvement / interactions Nollywood receives. It also discusses how Nollywood films are produced off shoestring budgets and how they have control over all aspects of the production and organisation of its operations, this being the main point of difference from the Francophone cinema of French West Africa, showing their national unity. In addition, the fact that Nollywood thrives in the areas that African Francophone film makers struggle with. This highlighting how the source id considered reliable and relatable to the discussions of global film industries.
Rice, Andrew 2012 ‘A Scorsese in Lagos’, The Makingof Nigeria’s Film Industry, The New York Times Magazine
This Magazine article tells us about the life of African filmmaker Kunle Afolayan and his dream to make ‘huge, explosive, American style blockbusters’ in Nigeria.it is stated that Nollywood film producers like to make the films highly exaugurated and tend to produce fright or fantasy remakes with melodramatic acting. It discusses how between 1994-2005 Nollywood film productions grew from a handful of feature movies to 2500 that year and is now highly recognised, producing on average over a thousand titles a year and now being a $500 million Nigerian movie business. Moviemaking is now considered to be one of Nigeria’s largest sources of private sector employment with the first Nollywood movie said to be made by a small-time electronics trader. It is also discussed how the New York Film Academy conducted a month-long program taught 250 Nigerian students the rudiments of professional film making techniques in 2012 and how the industry is dependent on their natural recourses and charities. This is considered a reliable and relatable recourse as it discusses relevant developments within global film industries.