Abstract
It was early in the New Year, January 3, 2020, participants had convened in London to review the state of the Nollywood industry and the potentials of the enterprise. Could it be positioned in the UK as a commercially viable transnational cinema? The agenda was set to cover film production by Nigerians in the diaspora, and to identity challenges facing geographically displaced Nigerians in producing and distributing their movies. Participants were to consider and proffer solutions to challenges confronting Nigerian filmmakers, including structural hindrances in financing, (pre/post) production, distribution and exhibition of their productions. That the original idea was proposed by a Nollywood legend, Clarion Chukwura made it fascinating. The event, held at the University College London, was an occasion for dialogue between the professionals and academics.
Highlights
It was early in the New Year, January 3, 2020, participants had convened in London to review the state of the Nollywood industry and the potentials of the enterprise
The conveners both scholar/practitioners were Dr Samantha Iwowo based at Bournemouth University and a filmmaker in her own right; and Rejoice Abutsa, a creative communicator, brand consultant and a Chevening Scholar on a postgraduate course at the University College London. They are both aware of the long-standing differences between the Anglo-American and Nigerian film industries
Most were present in person while others joined by video link, as if heralding practices that have become dominant since the onset of lockdown policies instituted on account of the Coronavirus pandemic
Summary
It was early in the New Year, January 3, 2020, participants had convened in London to review the state of the Nollywood industry and the potentials of the enterprise. They are both aware of the long-standing differences between the Anglo-American and Nigerian film industries. The pivotal reference point identified, was when the Nigerian movie industry got christened, there are pre and post Nollywood eras. The acknowledgment of a spatial delineation helped to identify different types of audiences that the industry serves - those in-country and those in the diaspora.
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