THE “OSUOFIA” CONNECTION: NOTES ON A NOLLYWOOD FILM CYCLE - Reginald Ebere and Abel “Success” Ebere, directors. Osuofia in Brazil. 2013. 211 minutes. English, Igbo, Yorùbá, and Pidgin. Nigeria. O-Gabby Innovations Ltd. No price reported. - Kensteve Anuka, director. Osuofia the Village Teacher.2014. 105 minutes. English, Igbo, and Pidgin. Nigeria. Global Update Movies. No price reported. - Emeka Nwosu, director. Osuofia and the Widow.2014. 140 minutes. English, Igbo, and Pidgin. Nigeria. O. Godwin Innovatio

Tsika, Noah

doi:10.1017/asr.2015.21

Afr. stud. rev.

2015

DOI: 10.1017/asr.2015.21

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THE “OSUOFIA” CONNECTION: NOTES ON A NOLLYWOOD FILM CYCLE - Reginald Ebere and Abel “Success” Ebere, directors. Osuofia in Brazil. 2013. 211 minutes. English, Igbo, Yorùbá, and Pidgin. Nigeria. O-Gabby Innovations Ltd. No price reported. - Kensteve Anuka, director. Osuofia the Village Teacher.2014. 105 minutes. English, Igbo, and Pidgin. Nigeria. Global Update Movies. No price reported. - Emeka Nwosu, director. Osuofia and the Widow.2014. 140 minutes. English, Igbo, and Pidgin. Nigeria. O. Godwin Innovatio

Noah Tsika¹

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Neoliberal Rationalities in Old and New Nollywood

Adejunmobi

2015

Afr. stud. rev.

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This article focuses on shifts, or "new waves," within contemporary African film as sites of struggle and moments of exposure of the divergent forces at work in the struggle. From this perspective, attempts at initiating a new style in commercially oriented storytelling do not so much culminate in a break with previous styles of storytelling as they create a new space for tension over ideological claims and narrative coherence. As illustration, the article considers the competing logics at work in the strategies or rationalities associated with the branch of Nigerian filmmaking described as New Nollywood.Résumé: Cet article se concentre sur des changements, ou de "nouvelles vagues," dans le cinéma africain contemporain perçu comme sites de lutte et moments de révélation des forces divergentes à l'oeuvre dans la lutte. Dans cette perspective, les tentatives de lancement d'un nouveau style dans la narration à vocation commerciale, représente moins une cassure avec les styles narratifs précédents, qu'il ne crée un nouvel espace pour une tension entre revendications idéologiques et cohérence narrative. A titre d'illustration, l'article examine les logiques concurrentes à l'oeuvre dans les stratégies ou rationalités associées avec la branche de cinéma nigérian décrit sous le nom de Nouveau Nollywood.

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Neoliberal Rationalities in Old and New Nollywood

Adejunmobi

2015

Afr. stud. rev.

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Pleasures of the Nollywood Familiar and Everyday Life

Adejunmobi¹

2022

Afr. Stud. Rev.

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Sequels, spinoffs, serials, and other kinds of generic works are prevalent in Nollywood filmmaking and popular with fans. These spinoffs and other generic works are characterized by a degree of familiarity, made evident in their repetitive and or affiliative dimensions. According to Adejunmobi, familiarity as a mode of media engagement in Nollywood generates specific pleasures connected to the repetitive dimensions of the films and television shows. These highly repetitive works also sustain a type of leisure activity for viewers without dedicated leisure time who combine Nollywood viewing with everyday work. This form of leisure is identified as a leisure of concomitance.

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Cited by 2 publications

References 4 publications

Neoliberal Rationalities in Old and New Nollywood

Neoliberal Rationalities in Old and New Nollywood

Pleasures of the Nollywood Familiar and Everyday Life

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