Has The Nigerian Film Industry Evolved?

'We are nothing but pencil in the hands of the creator' Wale Adenuga Production made sure we read this every thursday evenings after super story. Whether to tap our conscience or to remind us of eternity, it may as well mean Nollywood Film industry as a child of circumstance has been in the hands of caregivers for far too long. It need proper parenting (creator), a well structured Nollywood will boost investors confidence. 

This is why we today argue if the worlds second largest film producing industry, with over 50 movies weekly, raking in about $590 million revenue annually and contributing 2.3% to Nigerias GDP in 2016 according to NFVCB is evolving or not.

Almost every filmmaker in Nigeria agrees that Nigeria's film industry is urgently in need of structure. It is why close to 90% Nigerian filmmakers peg their budget limit even before the script is ready. Some even go as far as telling the writer to make a four character, one scene and less props movie. This restricts creativity the results is why even in 2020 sixteen years after the reintroduction of modern cinema in Nigeria, 65% Nigerian cinema goers prefer foreign films to Nollywoods' according to a CEAN 2019 report.

Nollywood director Ema Edosio, during an interview with TALENTX AFRICA

It is very important to know why Nollywood might seem boring

According to the World Bank, Nollywood produces up to 50 films a week, surpassing Hollywood in volume. The Nigerian film industry we have come to know as Nollywood which consists of films registered in Nigeria wasn't envisaged to be such a massive employer of labour, contributing 2.3% (NGN239biliion) to Nigeria's Gross Domestic Product (GDP) and employing over 250,000 people directly.

From Sam Zebba's 'Fincho' (1957), Hubert Ogunde's 'Aiye' (1979), then Wale Adenuga's blockbuster 'Papa Ajasco' (1984), to the renaissance Living In Bondage (1992) produced by Okechukwu Ogunjiofor and today's reinvented storytellers like Kunle Afolayan whose 2006 'Irapada' became the first Nollywood film to be shown in a modern cinema just two years after the return of cinema.

A scene from 1970's "Kongi's Harvest" movie

No doubt we have had quality stories shown on the modern big screen which is relatively secured in terms of piracy, but the lack of infrastructure, cost and others limiting over 160m Nigerians in cities without a single cinema presents the growing love for Nollywood in jeopardy. The general opinion still holds that everything Nollywood is "Asaba styled" films.
More than 100m of those without access to cinema don't know Nigeria now has quality movies that now attract foreign investors. This is largely so because the over 160m Nigerians cut out of cinema reach can mostly, only access films on CD.


Concerns from government

According Alhaji Lai Mohammed Nigeria's Minister of Information and Culture 'The creative industry contributed 84.1 billion pounds Sterling to the British economy in 2014. It also contributed $698 bn to the US Economy. We cannot afford to be left behind, we are ready to explore and exploit the new oil'.

The minister said this in July 2017 (three years ago). Two years later the Central Bank of Nigeria (CBN), in collaboration with the Bankers' Committee, introduced the Creative Industry Financing Initiative (CIFI). A year later, we can only read about such a beautiful project that if implemented as designed would have made huge difference.

VHS cassettes used by Nollywood filmmakers in the 90s to early 2000s

Government intervention

Nigeria with an estimated population of 200m people can boost of 45 cinema houses and with 130 screens, it is typical to see Nollywood filmmakers jostle for cinema slots in an industry reputed for mass movie production. It is why filmmakers call for a structured funding especially for film production and exhibition outlets to cover the current defit. Development of digital infrastructures, amendment of 2004 copyright act and enforcing it.

Nigerian Copyright Commission reported in 2013 that it conducted 80 antipiracy surveillances, 74 raids in piracy hot spots across Nigeria, including Alaba International Market. During that operation it arrested 158 suspected pirates and removed 1,868,339 quantities of assorted pirated copyright works from different piracy outlets across Nigeria with estimated market value of N1,643,786,000. These statistics are scary, the Nigerian Law School needs to introduce intellectual property law in it curriculum, no matter how angry copyright owners get they can't find an IP lawyer here.

As Hon. Desmond Elliot said the problem is truly big. Here is why, assuming about 2million young Nigerians currently employed directly and indirectly by the creative industry which it practitioners consistently cry of neglect by successive administrations get fired (jobless). The result will be massive increase in crime, sectarianism etc. Minister of Information and Culture, Alhaji Lai Mohammed severally referred to Nollywood as 'gold mine' and 'new oil'.

According to the minister 'Creative Industry is the fastest growing sector of the Nigerian economy in terms of business opportunities, employment generation, earnings as well as entertainment. This means Nollywood impact is recognize.

A scene from 1926 "Palaver" showing Jean Stuart's arrival

Creatives, take up your responsibilities

Speaker of Nigeria's National Assembly Mr. Femi Gbajabiamila days ago hosted a delegation of filmmakers, to them he suggested a Performing Arts Academy and assured Nigerian filmmakers of legislation on our current copyright act.

This was a huge step in the right direction but the creative industry practitioners must keep tap on trips like this. The likes of Hon. Desmond Elliott and all those in close proximity with government should consider this a personal task.

In as much as structuring  benefit government, filmmakers will be the major beneficiaries, if government recognizes it role in the rise of Nollywood, Industry players should see to it that government is doing as it promise. Knowing that the collective benefits of a structured industry will mean, filmmakers will need not cry of funding.

Comments

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