By Noah A. Tsika
In this accomplished examine of Nollywood stardom worldwide, Noah A. Tsika explores how the industry’s best on-screen skills have helped Nollywood to extend past West Africa and into the diaspora to turn into one of many globe's such a lot prolific and numerous media manufacturers. wearing VHS tapes and DVDs onto airplanes and publicizing new equipment of movie distribution, the celebrities are energetic brokers within the worldwide circulate of Nollywood movie. From Omotola Jalade-Ekeinde’s cameo position on VH1’s renowned seriesHit the Floorto Oge Okoye’s startling impersonation of girl Gaga, this booklet follows Nollywood stars from Lagos to London, Ouagadougou, Cannes, Paris, Porto-Novo, Sekondi-Takoradi, Dakar, Accra, Atlanta, Houston, big apple, and la. Tsika tracks their efforts to combine into a number of leisure cultures, yet by no means to the purpose of effacing their African roots.
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Extra resources for Nollywood Stars: Media and Migration in West Africa and the Diaspora
Onookome Okome has argued that the seminal Living in Bondage did more than simply convince filmmakers of the viability of v ideo technologies; in Okome’s account, it also proved the importance of “expanding the linguistic and cultural base” of Nollywood, primarily by embracing flexibility at the levels of d ialect and performance. 36 One of Nollywood’s most common dialects, Pidgin, might appear to be an equalizer, a great leveler—a democratizing linguistic approach that provides the impression not simply that stars are like each other but also that they are like everyone else in anglophone West Africa.
24 The fluid movement between Igbo and Yorùbá identities that Nollywood stars so often enact, which can be considered a form of m inor transnationalism unto itself (especially considering its inflec tions in Benin and Cameroon), also suggests a certain resistance to West ern prescriptions, to the boundary-creating and border-enforcing legacy of colonialism, and certainly to a racist, vernacular American view of black Africans as being all alike. 25 In tracing the persistently antiessentialist transnationalism of Nolly wood stars, I remain dedicated to detailing ethnic specificities.
As Jonathan Haynes has pointed out, the central irony of the indus try is that its astonishing success has been a function of the extreme eco nomic hardships engendered in Nigeria by structural adjustment programs (World Bank and International Monetary Fund policies to “develop” the global South by making privatization a prerequisite for economic aid, which often arrives in the form of debilitating, high-interest loans, accompanied by devaluation). Driving the final nail into the coffin of state support for cinema, structural adjustment programs have effectively divested Nigeria of traditional cinematic practices in the realms of production, distribution, and exhibition.