Abstract
This article juxtaposes two audiences-Nigerians in Nigeria and Nigerians in South Africa in order to ascertain how they perceive favorite aspects and disliked aspects of Nigerian movie productions, popularly known as Nollywood. The results indicate that the two groups favor the depiction of Nigerian/African cultures over other themes; yet, Nigerians in South Africa disfavor the reality of Nollywood movies. The disliked aspects of these films were repetition, poor quality and the supernatural. Grounded in reception analysis and mirroring McLuhan’s hot-cool model, the analysis indicates that the quality of Nollywood movies impacts how audiences decode the movies. Findings suggest that for those living outside of Nigeria, nostalgia leads them to seek movies that allow them to escape into a Nigeria that never was.
Highlights
Video technology has revolutionized how Nigeria and other African countries make movies
Preliminary data were collected in order to explore initial questions related to Nollywood audience reactions and to different aspects of Nigerian movies
Favorite Aspects For Nigerians in Nigeria, the results revealed a close range of favorite aspects
Summary
Video technology has revolutionized how Nigeria and other African countries make movies. The popularity of Nollywood video film as a cultural phenomenon has increased interest in Nigerian culture within Nigeria and other parts of Africa and throughout the rest of the world (Abah 2008; Okome 2007; Onuzulike 2007a, 2007b). Nollywood critics have raised concerns about the quality of Nigerian movies (McLaughlin 2005) and the depiction of the supernatural (Eghagha 2007; McCall 2002). In Onuzulike’s work on conceptualization of video film theory, he articulates that “video film as a tool of development communication has positioned Nollywood to help articulate Nigerian cultural heritage and Africa as a whole” (2015: 97). Nollywood can impact the narrative of the people positively or negatively
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