Marketing Nigerian Films: A Personal Experience

Abstract

The meteoric rise to prominence of Nollywood as a defining force in African cinema and postcolonial African cultural identity is well documented by scholars, critics and journalists (Okoye 2007, McCall 2007). Many journals, editorials and publications have been dedicated to the discourse and celebration of the industry which has risen in stature and posture steadily in the last twenty years.

Different scholars who have written about the industry recently have looked at various areas of the business and the art of filmmaking in Nigeria. These include historical development (Hanes & Okome 1998, Ekwuazi 2008, McCall 2007, Oyewo 2003.); Structural analysis (Adagbada 2008, Ayakoroma 2008, Akangbe 2008, Adejumobi 2003); Religious expression (Ogunleye 2003, Adeniyi 2008); sociological and anthropological research (Ahmad 2008, Adeyemi 2008, Gwam-Nzeku 2008, Okilagwe 2008, Shaka 2003, Anyanwu 2008); theoretical and epistemological discourse (Okome 2008, Adejumobi 2003, Okoye 2007, Harding 2007); political relevance (Abone 2008); ethnological examination (Omoera 2008, Ekwuazi 2007, Adamu 2007, Mohammed 2007); field experience (Oyewo 2008, Ogunleye 2003); gender concern (Anyanwu 2003, Olujinmi 2008, Evwierhoma 2008) and educational

study (Bashiru 2007, Adeoti 2008, Ola-Koyi 2008 Of course others have also vilified the industry for many reasons: Ukadike found Nollywood to be "ideaologically bankrupt" and for "Local consumption" while Adesokan refers to it as a "Dubious bloom" in "heartbreaking and excruciatingly poor products" (Ukadike 1994 and Adesokan 2003, quoted in Chukwuma...