Audience Appreciation of Nigerian Films (Nollywood)

Esan, Oluyinka

doi:10.1057/9780230305854_8

Cited by 5 publications

(2 citation statements)

References 7 publications

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“…Beyond this, the collapse of boundaries between the traditional and new media forms has implication on the Nigerian film industry especially in terms of disseminating information through films to target audience in a timely fashion. Audience members also publish their comments in the form of feedback online (Esan 2011). The movie industry had not always enjoyed audience feedback because in the past films were distributed physically in four major cities in the country.…”

Section: Potentials For Creating New Realities In the Nigerian Film Imentioning

confidence: 99%

Transmedia Storytelling: New Prospects for Addressing Postpartum Depression on Nigerian Screens

Ajala¹

2020

Communication Cultures in Africa

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Transmedia storytelling has been instrumental in the massive audience followership of shows like Lord of the Rings (2001) and Sophia's Diary (2008). Its potentials to promote audience engagement that will break the culture of silence with such serious issues as postpartum depression (PPD) should be explored. Given the popularity of film in the context of study, it is fitting to explore its ability to address such sensitive issues, even in novel ways. This article employs the new media theory as a theoretical framework, and it explores the possibilities that media convergence presents to create new realities, by promoting attitudinal and behavioural changes. This is case study of the Little Drops of Happy (2017) a video film on (PPD) examined the opportunities for screenings and other forms of audience engagement-including promotional events. It assessed the range of media employed in this regard and feedback generated. It is apparent from this that the principles of transmedia storytelling were not fully embraced in promoting knowledge on postpartum depression. Though the potential for transmedia storytelling exists, it was stymied in this context, possibly for fear of losing control of storyline and intellectual property rights. Yet African filmmakers are encouraged to explore the use of this technique further, considering its promise to foster deep engagement with audiences and facilitate effective communication on a wide range of health and social issues.

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Section: Potentials For Creating New Realities In the Nigerian Film Imentioning

confidence: 99%

Transmedia Storytelling: New Prospects for Addressing Postpartum Depression on Nigerian Screens

Ajala¹

2020

Communication Cultures in Africa

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“…This is going to bring in a whole new era of language content cross-pollination in Africa, and for the first time seeing artists develop a pan-African rather than just their own country, following. [16] When available, subtitling, which "helps to transcend ethnic and cultural barriers that local languages imposed within the multilingual Nigerian market" (Esan 2008), has so far been overwhelmingly preferred to dubbing in Nigeria, and applied to both Igbo and Yoruba video films since the early 1990s, as illustrated by Love in vendetta (1996). This film, which features an Igbo-Hausa couple in love struggling against their parents' memories of the 1987 Kano riots and massacres, [17] is subtitled in French, with its introduction subtitled in both English and French targeting neighbouring countries.…”

Section: Subtitlingmentioning

confidence: 99%

Nollywood across Languages Issues in Dubbing and Subtitling

Ugochukwu

2013

J. inc. comm

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The language of Nigerian video films, its choice, and those of subtitling and dubbing, have long escaped scrutiny, and only attracted scholars’ attention within the past ten years. The present study, based on the analysis of 19 films in English, French, Dutch, Igbo and Yoruba and on data gathered from three personal surveys and interviews dated 2009, 2012 and 2013, seeks to add to this burgeoning field by considering whether the language issue hinders the reception of Nigerian films outside their linguistic area, and surveying what has been done so far in that regard. Its findings first reveal that, while European audiences seem to prefer dubbing, Africans opt for subtitling; they also confirm that in the end, the true success of Nigerian films, whether subtitled or dubbed, will be measured in the way they cut across cultures, not just languages.

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Yorùbá Ẹ Ronú: Tradition, Youth and Cultural Citizenship in Túndé Kèlání’s Films

Cheng

2020

Journal of African Cultural Studies

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Audience Appreciation of Nigerian Films (Nollywood)

Cited by 5 publications

References 7 publications

Transmedia Storytelling: New Prospects for Addressing Postpartum Depression on Nigerian Screens

Transmedia Storytelling: New Prospects for Addressing Postpartum Depression on Nigerian Screens

Nollywood across Languages Issues in Dubbing and Subtitling

Yorùbá Ẹ Ronú: Tradition, Youth and Cultural Citizenship in Túndé Kèlání’s Films

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