Tag Archives: Nollywood

8th African Film and TV Programmes Market, BOB TV 2011 set to begin in Abuja on 15 March 2011


Bob TV

Nigerian filmmaker Amaka Igwe’s annual three day “Best of the Best” Film and TV Expo is set to begin tomorrow, March 15, 2011, at the Ladi Kwali Conference Centre, Sheraton Hotel and Towers, Abuja. 

To Read more about Bob TV, click here. To follow the organization and get updates on Facebook, click here. The Calender can be downloaded here. To Register, click here.

EVENTS

The Events of Bob-TV, include an exhibition (registration information here); a conference on “New Media, New Ideas, New Possibilities;” a Finance Forum; University Challenge (financed by DSTV), where student films will be screened, judged, and awarded; and professional workshops on makeup, acting, directing, films for internet, documentary programmes, intellectual property and others. 

FILMS

The following films will be screened: Amnesty of Ossy Affason ProductionsApostle Kasali  written and directed by Amaka Igwe ; Bursting Out produced by Emem Isong and directed by Desmond Elliot; The Stolen Voice of Remy jes Productions directed by Lancelot Oduwa Imasuen (found only one source for this citation); African Queen; Abuja Top Ladies of Ossy Okeke Jr Productions; Odum na Akwa Eke of Remy jes Productions.

RESOURCE PEOPLE

Resource People at BOB TV include Mrs. Bola Awosika Oyeleye, who will speak on “The Nuts and Bolts of Story Telling” and Speaking Well;” Dagogo Dimanas, who will lead a workshop on Makeup; Nollywood star actor and director Desmond Elliot, who will lead a workshop on acting; pioneering Nollywood director Chris Obi-Rabu, of Living in Bondage fame, who will lead a directing workshop; and on the “hotseat”  Ben Murray Bruce, Chairman of Silverbird Group; entertainment lawyer Ofere Ozako (when clicking on link, scroll down for bio), and others

BOB TV HONORS

According to their publicity material, the list of the  “Best of the Best” honours for 2011 has recently been released:

Acknowledging hardworking professionals who have contributed to the growth of the movie and television industry in Nigeria has always been an integral part of BOBTV. The recipients will be showcased and celebrated at the 8th African Film and TV Programmes Market, BOBTV 2011, scheduled to hold from the 15th to the 17th of March at the Ladi Kwali Conference Centre, Sheraton Hotel and Towers, Abuja. 

Ben Murray Bruce, Director of the Silverbird group, owners of the Most Beautiful Girl in Nigeria franchise, Silverbird Television and Rhythm 93.7 radio stations, was chosen in recognition of his mammoth contribution to the entertainment industry in Nigeria. 

Ossy Affason’s immense contributions to Nigeria’s movie market can’t be understated. The renowned movie marketer and distributor of Nollywood movies has been chosen for his pioneering contribution to movie marketing in Nollywood. 

Entertainment lawyer Efere Ozakor, who took a different approach to entertainment law in Nigeria was chosen for his outstanding contribution to the provision of legal framework for the Nigerian broadcast and entertainment industry. 

Dagogo Diminas, make-up and special effects pioneer, with over two decades of experience has been chosen for his pioneering excellence in special effects in Nollywood. 

This year’s recipients join the prestigious “Best of the Best” honours list that includes Dr. Raymond Dokpesi, Chief Peter Igho, Ms. Liz Benson, Mr. Andy Amenechi, Sam Loco Efe, Chika Onu, Dr. Umar Farouk Jibril, Antar Olaniyan and Engr. Tony Ikoku. Mr. Lekan Ogunbamwo, Mr. Sam Dede, Bukky Ajayi, amongst others.

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Call for Papers: Reading and Producing Nollywood: An International Symposium. Abstract Submission Deadline 21 February 2011


SUMMARY:
Conveners:
 Professor Duro Oni (University of Lagos),
Professor Onookome Okome (University of Alberta/Pan African University),
Bic Leu (US Fulbright Fellow/University of Lagos)

Venue: University of Lagos, Akoka, Yaba, Lagos, Nigeria

Dates: Wednesday, March 23–Friday, March 25, 2011

Deadline for submission: Monday, February 21, 2011 tobic.leu@fulbrightmail.org and durooni@yahoo.co.uk

 
ABOUT:

Everyone in Nigeria has an opinion on and about Nollywood. This is also true of Africans and those in the African Diaspora. Opinion expressed by each respondent depends on a number of factors, some of which may have little or nothing to do with the content of Nollywood films or the industry itself. This is partly because Nollywood can no longer be ignored and partly because even for those who wish the industry a bad turn, all such predictions have failed.

For those who referred to this cinematic practice as a “peddler’s trade,” the reality now is that this “trade” has taken on the narrative of the Nigerian nation as a cultural and political entity. The narrative machine that it has generated has permeated all aspects of the Nigeria world, making the skeptics of its narrative focus and style furious at it for creating what some of them call “false culture”. Comments about what Nollywood presents to the public are therefore not always salutary. If anything, they are often acerbic. In fact, these comments cast doubt on both the narrative practices, the content of the narratives as social documents and the very industry itself.

Among the intellectual class in Nigeria, Nollywood films are more or less street art, one which should have no social import. One argument is that the makers of Nollywood are often seduced by quick financial turn over, and for this reason the content of Nollywood films is often secondary to ideologies and other cultural matters. Seduced by the allure of exaggerated earning reported for the industry, government cultural agencies have embraced Nollywood with care and some caution as they fight to have some of the benefits accruing to the industry. For operators of these agencies, the bottom line is expressed in the entrepreneurial sprits of workers in the industry, something that is lacking in the larger Nigerian society. Elsewhere in Africa, and in the African Diaspora, Nollywood has not been very well received either. Francophone filmmakers derided the style of this cinematic tradition until recently, and only began to rethink this visual practice when it became part and parcel of M-Net screening schedule, a feat which the Francophone film industry has yet to achieve. Even then the suspicions about the industry are still rife.

At the heart of the matter is, to repeat this point, that Nollywood is amateurish, crude in part and stylistically reminiscent of the pre-silent film era. Yet, not even the most avid critic denies the popularity of these films. Indeed, it is this popularity that has given critics and other cultural enthusiasts the steam and energy to think of this media as a viable medium of narrating contemporary Nigeria while at the same time denying it of the very social presence it commands among it teeming clientele.

This symposium is designed to investigate two crucial issues of negation-the perception and reading of Nollywood as a cultural practice. It will ask questions such as: How do we read Nollywood as culture and as an industry that produces culture? Even if it is intellectually justifiable to read Nollywood side by side other cinematic practices such as Hollywood and Bollywood, can such pairing bring out what Nollywood really represents to those for whom the films are made? Is it possible to read Nollywood outside the framework of popular culture? As popular culture, what critical category do we need to read it as an urban African art?

The conveners solicit proposals and abstracts from a broad spectrum dealing with the debate around “reading Nollywood”. Although not exclusive to the interests of the conveners, proposals and abstracts dealing with these themes are especially welcomed: the sociality of the art of Nollywood, Nollywood films and contemporary Nigerian culture; Nollywood and the art of the popular in Africa; Nollywood and the African cinema; the art of story-telling in Nollywood; genre and the Nollywood film; Nollywood in the city and the city in Nollywood; Nollywood and the economy of the occult; Nollywood abroad; politics and governance in Nollywood films; women behind the camera and in Nollywood films; and towards an epistemic framework for “reading” narrativity and locality in Nollywood films.


GUIDELINES:

Proposals and abstracts should be sent no later than February 21, 2011 to:bic.leu@fulbrightmail.org and durooni@yahoo.co.uk.

  • Send a title and an abstract (500 words or less), typed single-space in Times New Roman, 11 point font.
  • State the name(s) of the author(s), institutional affiliation(s), postal and e-mail addresses, and phone number(s).
  • Abstracts are to be sent by MS Word attachment only.

MOPPAN calls for an African International Film Centre in Tiga, Kano


The national president of MOPPAN, the Motion Picture Practitioner’s Association of Nigeria, Sani Muazu has recently posted on his blog a MOPPAN press release calling for the formation of an international film centre in Tiga, Kano State. The Press release seems to have been originally written in 2007.

In the third part of the press release, MOPPAN put forth several recommendations:

3.2.2.1 Infrastructure and Production Facilities 

MOPPAN noted that few state-of-the-art equipment exist as part of the production facilities in the industry in the North. The cinema infrastructure among others, such as equipment and theatres have equally been abandoned to decay or converted to warehouses, banks, shopping malls and venues for religious worship, etc. The new phenomenon of the home video production therefore does not enjoy the communal conviviality which was the order of the day in the cinema era. In the same vein, production, distribution and exhibition facilities in the film industry are virtually non-existent. 

Note must however be taken of the effort of private sector investors in Lagos, Port-Harcourt and recently Abuja by Silverbird and other stakeholders who are already financing a few standard film exhibition centres across some major cities of the country in an attempt to revive the film exhibition and cinema going culture. There are also a chain of video rental outlets and viewing centres in the urban centres and in some rural areas of the country, operating on the fringe. More of these structures and facilities are expected to be established in the North by these businesses and operated without recourse to northern cultural sensibilities. 

Recommendation:
MOPPAN therefore sees the need to go into, or encourage northern businessmen to go into the business of cinema as it should be in a predominantly Muslim environment. MOPPAN also recommends that Kano State Government, in its new policy thrust on Film Development through the establishment of a practitioners driven film centre in Tiga, Kano, should seek to collaborate with motion picture equipment and film stock manufacturers from different parts of the world for the establishment of factories or sales offices in the Kano, with adequate incentives to attract their participation.

3.2.2.2 Production
MOPPAN observed that Kano, as the centre of Kannywood, is unarguably one of the highest producers of film titles in the Nigeria and Africa, with over one thousand video movies per annum. Film production encompasses several processes of transforming a story or subject matter from idea to a finished product. With the establishment of the Resource Centre, it is hoped that the above stated problems about motion picture production would be mitigated to the barest minimum.

Recommendation:
In its view, MOPPAN believes the establishment of the International Film Resource Centre at Tiga in Kano, would bring all Guilds and Associations together under one umbrella at the centre and give them the capacity to address the problems of technical and content quality, format, standards, professionalism, aesthetic appeal and of course, finance are some of the challenges facing the industry today. 

3.2.2.3 Distribution, Exhibition and Marketing
MOPPAN observed the absence of effective structure and efficient and organised distribution network in the North, despite Kano being one of the major distribution centres of Films in Nigeria and sub Saharan Africa generally. MOPPAN also noted that there is the lack of political will on the part of Kano State Government to consider its strategic positioning and make plans to explore and revitalize the sector. 

Recommendation:
MOPPAN recommends that Kano State Government should utilise the International Film Resource Centre at Tiga to facilitate an enabling environment to encourage public-private partnership to enhance an organised and efficient distribution and marketing network.

3.2.2.4 Training and Capacity Building

MOPPAN noted that it has become imperative for practitioners to possess a certain basic qualification that is recognised and acceptable by all stakeholders nationwide to bridge the yawning gap created by dearth of requisite skills in the industry. 

Without training and capacity building therefore, it is difficult to maintain standards and ensure the regular supply of the needed manpower to feed the development needs of the industry. 

Recommendation:
MOPPAN recommends that the International Film Resource Centre Tiga, Kano should host a film school to be known as TIGA INTERNATIONAL FILM CENTRE, KANO to be affiliated to either Bayero University Kano or Ahmadu Bello University Zaria. The school can work with other similar training institutions around the world to professionalise the industry. The Centre would also work with and encourage the Government-owned National Film Institute and the NTA Television College in Jos and other training institutions and initiatives by stakeholders to function adequately and provide the services needed in this sub-sector. 

3.2.2.5 Funding and Financing
Modern filmmaking is business, big business. It is pertinent to note that all films, whether Government-sponsored or funded by corporations or individuals incur expenses in anticipation of expected returns. MOPPAN observed the absence of institutional funding, grants and endowment which has hampered the delivery power of the Northern Nigerian filmmaker. 

Recommendation:
MOPPAN strongly recommends the establishment of a Film Development Fund in Kano for the Northern motion picture industry in collaboration with other Northern Governors that are major stakeholders and beneficiaries.

3.2.2.6 Legal Environment 
MOPPAN observed that the Government has been making relevant and necessary efforts towards creating an enabling and enduring legal environment to stimulate the desired moral growth and development in the industry. The Kano Censors Board is however a source of concern to stakeholders and the law establishing the board is obviously done in a hurry.

Recommendation:
MOPPAN recommends that the Kano State Government should liaise with the National Film and Video Censors Board to harmonise and regularise its reforms until the motion picture industry is firmly put on a sound footing of focussed growth and development. The International Film Resource Centre would also maintain a standard legal office to continuously study and update its policies with regards to culture, tourism and growth without constituting itself as a nuisance and national/international embarrassment. 

From the foregoing, MOPPAN therefore recommends the establishment of an International Film Resource Centre, to be known as THE AFRICA INTERNATIONAL FILM RESOURCE CENTRE TIGA, KANO at the present place of the ROCK CASTLE HOTEL to, when fully established, serve as THE CENTRE that would seek to intervene through its registered and affiliated Guilds and Associations in all aspects of motion picture production in Northern Nigeria and give KANNYWOOD a true identity and KANO STATE its position of pride as the third leg of film production in Nigeria.

To read the entire press release, see Sani Mu’azu’s blog here.

Call for papers for international workshop held in Illorin July 7-10: “Nollywood: a National Cinema” Deadline 15 June 2010


Call For Papers

 “Nollywood: A National Cinema?” An International Workshop

Workshop dates: July 7-10, 2010

Venue: Kwara Hotel/Kwara State University, Malete, Ilorin, Nigeria

            Inevitably, questions asked about the social and cultural veracity of the art of Nollywood coalesce into one grand probe, which seeks to interrogate Nollywood as a trustworthy machine for the production of culture in contemporary Nigeria. Indeed, some critics have argued that the popularity that Nollywood has engendered in the last ten years in Europe and America may well be explained in term of its re-invention of the image of the noble savage. Others disagree with this reading of the global reception of Nollywood. Constructed as questions around “cultural authenticity” in which echoes of the Kwame Nkrumah vision of pan-Africanism is all too visible, and as a site that instigates the “rough side of us,” critics have taken Nollywood apart, claiming that what it produces as culture is, to put it mildly, “false culture.” The anxieties which this argument generates can be put in this way: if Nollywood is so ubiquitous in the global marketplace of cultural commodities, there is the need to discipline it so that it does not mis-represent “us” as “nation.” Its sloppy narrative regimes must be disciplined; and its uncritical and superficial re-production of culture must be questioned, if not disciplined. Often read as the producer of “false culture,” anxieties concerning the ways that Nollywood narrates “our nation” form the bedrock of the discourses that negate Nollywood as a culture machine. While this mode of interrogation is not new-Emmanuel Obiechina makes a similar observation in his brilliant and groundbreaking study of the Onitsha Market pamphlet (Onitsha Market, Cambridge University Press, 1971)-Nollywood gives contemporary cultural mediators who make these claims even better reasons to doubt. However, we note that nowhere in these arguments that Nollywood has spurned in the last ten years is there a careful and sustained analysis of the industry as a method of articulating popular sentiments for popular consumption. Nollywood is narratively eclectic. It is linguistically diverse and accessible. Its mode of inquiry is quotidian and it critical frame of reference is unsophisticated.  In this cultural practice, there is no pretence to any intellectual engagement with the profilmic world. The texts of Nollywood films are easily recognized because they come from and are built around rumors from the streets of Nigerian cities where they fester, grow, and are transformed yet again into Nollywood films. Thrown back into the streets, these video stories are reconstituted and reinterpreted in the streets yet again and then re-made into Nollywood films so that what is initially a rumor of the inevitable death of the rich man whose source of wealth is to say the least dubious is continuously reconstituted as stories and discourses of Nollywood films and of the streets. Evidence is beginning to emerge to the effect that many countries in Africa and in the African diaspora are beginning to look to Nollywood to grow their local film industries. The sum total of the anxieties expressed by these cultural mediators comes from the unique qualities of Nollywood as popular art.

               This workshop interrogates the intersection between the nation as a narrative entity and the uses of Nollywood as agent of this act of narrativity. Among other concerns, this workshop asks the central question: is Nollywood a national cinema?” If so, what nation does it narrate? How does it make or re-mark itself as a narrative machine? Are the un-manned but eloquently articulated sites of women in this filmmaking tradition “nationalistic” in any way? How do these films read the nation as an entity? Papers are invited from presenters and contributors on these and other topics that are related to the main theme of this workshop, and must reach the organizers on or before June 15, 2010. Contributors are required to send e-copies of their abstracts to the guest-convener at onookome.okome@kwasu.edu.ng or ookome@ualberta.ca. Selected and refereed papers will be published in two books to be co-edited by Abiola Irele, Awam Amkpa, Onookome Okome and Abdul-Rasheed Na’Allah. Confirm guest speakers include Prof. John McCall, University of Illinois; Professor Jon Haynes, Long Island University, New York; Mr. Afolabi Adesanyan (NFC), Mr. Emeka Mba (NFVCB); Barclays Oyakoroma(NICO);Prof. Manthia Diawara, NYU, New York, and Professor Jane Bryce, University of the West Indies, Cave Hill, Barbados.

               Interested participants must also pre-register for the workshop no later than June 15, 2010. Registration fees may be wired/transferred to KwaSU workshops/conferences accounts- FinBank, Ilorin, Nigeria-KwaSU Conferences/workshops current account: 120430000323901; domiciliary account number—120440000006502. International participants: US$120, local participants, N10,000.