SAC 440 Reading Presentation

SAC 440 Reading Presentation - Sasha Wang SAC 440 African...

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Sasha Wang SAC 440 African Cinema Scott Edmondson 12/08/10 “Nigerian Video Film As Minor Transnational Practice” by Moradewun Adejunmobi Parallel Economies Nigeria’s videofilm market headed in direction of Hollywood market in terms of narratives, West African distribution and production tactics, “buying, selling, and investing, both locally and regionally.” (p.7) “Manthia Diawara rightly identifies West African markets as ‘centers of international consumption and cross- cultural fertilization” noting in addition that “merchandise from a variety of origins are on display in the traditional markets’ (p.7) Implies West Africa is a mediator between Hollywood and Nigeria, an “informal” economy of local products (local production, regional distribution), traders who profit from video distribution as opposed to film directors “Local businessmen involved in the retail trade in videocassettes were the ones who took the initiative in funding film production in the early years” These businessmen who were involved in videocassette trade funded Nigerian film production; not the directors and saw profit in spreading Nigerian video films beyond the national border 1990s, influenced by success of Yorubo and Igbo to produce films in English “Another decision in 2002 to halt production for a couple of months so as to make production more cost effective and to ensure the highest possible returns on investment was also market driven (Barlet 134).” (p.7) Nigerian video industry seems to stray from “official global economy,” growing affiliation with Dubai, Singapore, and Beirut Uses alternative trade methods that go under the radar into Europe and America, which avoids restrictions and regulations o Diawara gives West Africa credit for this by saying, “Markets in West Africa clearly undermine official forms of globalization according to which a nation- state attracts the investments of multinational corporations after undergoing a measure of structural adjustment, that is, devaluation. By producing disorder through pricing, pirating, smuggling, and counterfeiting, they participate in the resistance to multinational control of the national economy and culture. (121)” o Less expenses because do not have to provide costs to fulfill regulations, and more profit because done independently o Nigerian and West African traders bring a few copies to foreign countries and then makes more copies there to distribute because foreign regulators are not going to care so much for Nigerian/West African prosecutions; it’s not their problem
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Although directors and producers of Nigerian videos do not financially benefit from this independent trade, it does further circulation of their work. “On her visit to Sierra Leone, Omotola Jalade Ekeinde, the Nigerian star
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This note was uploaded on 01/18/2011 for the course SAC 440 taught by Professor Scottedmondson during the Spring '10 term at University of Michigan.

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SAC 440 Reading Presentation - Sasha Wang SAC 440 African...

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