3rd Kwara State University Cinema Conference, Ilorin, Kwara State
(August 17-19, 2017)
Nollywood: Text, Narrative, Technology
Thematically, the Nollywood film is as culturally and spatially diverse as the Nigerian nation, its birthplace. From the initial reaction of disgust to the current spate of essays rephrasing the popular in the Nollywood film, there is more than enough to chew. But there has been very little in the way of knowing and writing about Nollywood’s thematic diversity. Understanding the industry as a cinema practice has come a long way in a short time but the old questions remain. Answering them will depend a whole lot on a careful navigation of the robust and imaginative sense of Nollywood filmmakers who document contemporary Nigerian life in Nollywood films. How, for example, do we read popular expressions of contemporary Nigeria in the Nollywood film without falling back on the common knowledge that the filmed world is one and the same with real life in contemporary Nigeria? Why are Nollywood films popular and why do we read the films as popular expressions of the people? Against the common view that homogenizes the text of the Nollywood as one field of cultural expression with a narrative singularity judged as easily predictable, we propose an intense inquiry the text of the Nollywood film as a diverse body of stories. We also propose a critical evaluation of the role that technology has played and is playing in the industry, paying attention to the domestication of digital technology from the early days of the industry to the present. But we also wish to extend this beyond the scope of the merely domestication of digital media in the industry. In this regard, we wish to call into this debate what Moradewun Adejumobi carefully describes as the conditions necessary for “autonomous voices from globally marginalized population to emerge, in dialogue with local publics, and outside the dominant centers of cultural production, than do the non-commercial forms of transnational cultural productivity (2007).” To put it squarely, we wish participants of this conference to interrogate how this appropriation enhanced and is enhancing the visibility of the Nollywood film in the global distribution, exhibition, and production of this specific local culture? Contributors need not send fully developed papers or abstracts but brief methodological and theoretical synopses explaining how they intend to deal with issues such as narrative forms in Nollywood, piracy and digital Nollywood, Nollywood stories about contemporary Nigeria, theories of the text of Nollywood and other relevant issues to the topic outlined above. Send inquiries and contributions simultaneously to Emeka Emelobe (firstname.lastname@example.org), Austin Emielu (email@example.com), Gabriel Ojakovo (firstname.lastname@example.org) and (secretariatseminarKW@gmail.com). Selected papers will be refereed and published in the Journal of Nollywood and African Media Studies, volume 1,3, 2018) at no cost to contributors.
Oghenevwarho Gabriel Ojakovo
Department of Music, University of Alberta