The Nigerian film industry, often referred to informally as Nollywood, has a rich and complex history, dating back to the late 19th century and continuing through the colonial era into the 21st century. The term "Nollywood," a portmanteau of “Nigeria” and “Hollywood,” encompasses Nigerian films made within Nigeria and abroad, as well as English-language Ghanaian films and films in various Nigerian languages.
This article explores the evolution of Nigerian cinema, from its colonial roots to its current status as the second-largest film industry in the world, examining key periods, influential figures, and the factors that have shaped its remarkable journey.
Nollywood sign
Early Cinema in Nigeria
Film as a medium first arrived in Nigeria in the late 19th century. The first set of films were screened at the Glover Memorial Hall in Lagos from 12 to 22 August 1903. The success of this exhibition led to Stanley Jones, a European merchant, beginning to show films in the same hall starting in November 1903.
During the First World War, the Colonial Government used cinemas to raise funds for war relief and the Red Cross. They were also interested in producing and using documentary films to "brainwash the colonies and to propagate British ideals."
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By 1921, there were four halls showing films twice a week in Lagos Mainland and one hall each in Ebute Metta and Oshodi. Cinema had become popular in Lagos, with crowds of young and old people waiting at the doors of theatre halls.
Colonial Filmmaking (1900s-1950s)
Filmmaking in Colonial Nigeria generally refers to an era in Nigerian cinema when film production and exhibition or distribution were controlled by the British colonial Government. Filmmakers started producing films for local audiences within Nigeria since the 1920s, mostly employing the mobile cinema as a means of exhibition.
The earliest feature film made in Nigeria is the 1926 film Palaver, produced by Geoffrey Barkas. It was also the first film to feature Nigerian actors in a speaking role, including Dawiya and Yilkuba. The film was shot amongst the Sura and Angas people of the present-day Bauchi and Plateau States in Northern Nigeria, and narrates the rivalry between a British District Officer and a tin miner which leads to a war.
Also in this era, there were several films set in Nigeria, one of the most notable being the 1935 film Sanders of the River by Zoltán Korda, featuring Nigerian actor Orlando Martins.
Sanders of the River (1935)
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Emergence of Cinema Houses
As cinemas became a common feature of the social life in Lagos, the late 1930s through 1940s marked the beginning of the establishment of big commercial cinema houses with branches in strategic parts of the country. One of the earliest cinema operators in Lagos was the "West African Pictures Company" owned by Mr. S. Khalil, who established the Rex Cinema, Regal Cinema, and Royal Cinema.
Other popular cinema chains included:
- Capitol Cinema
- Casino Cinema
- Kings Cinema
- Central Cinema
- Rialto Cinema
- Corona Cinema
- Odeon Cinema
- Road House Cinema
- Ikeja Arms Cinema
- Glover Hall
In 1937, the colonial government set up a Board of Censorship to handle matters relating to the establishment and operations of cinema houses in the colony. However, Nigerian content in films made and shown in Nigerian cinemas during this period were virtually non-existent, as the production and distribution were controlled by foreigners.
The Nigerian Film Unit
In 1949, the Nigerian Film Unit was established to decentralize colonial film production. This unit was later reorganized into regional units in accordance with the constitutional changes in Nigeria in 1954. The Colonial Film Unit exhibited health and educational films to local audiences through its mobile cinema vans. By 1954, mobile cinema vans played to at least 3.5 million people in Nigeria, and films being produced by the Nigerian Film Unit were screened for free at the 44 available cinemas.
In the 1950s, the state of affairs changed a bit, with more Nigerian content being exhibited in cinemas, with a drive to "Africanize" film production. There became a major increase cinema audiences as a result, with an estimated annual 3.5 million audience as of 1951.
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Post-Independence Era and the Golden Age
After Nigeria's independence from Britain in 1960, the cinema business rapidly expanded, with new cinema houses being established. Nigerian films in theaters increased in the late 1960s into the 1970s, especially productions from Western Nigeria, owing to former theatre practitioners transitioning into the big screen.
In 1972, the Indigenization Decree was issued by Yakubu Gowon, which demanded the transfer of ownership of about a total of 300 film theatres from their foreign owners to Nigerians, which resulted in more Nigerians playing active roles in the cinema and film.
The oil boom of 1973 through 1978 also contributed immensely to the spontaneous boost of the cinema culture in Nigeria, as the increased purchasing power in Nigeria made a wide range of citizens to have disposable income to spend on cinema going and on home television sets.
Decline of the Golden Era
As of the late 1980s, the cinema culture was beginning to face a major decline, and most Nigerian film producers had transitioned to television productions. The gradual decline of the Golden era of Nigerian cinema has been attributed to several factors, including the reduction in the value of Naira, lack of finance and marketing support, lack of standard film studios and production equipment, frequent Government structural adjustment programmes due to military dictatorships, as well as inexperience on the part of practitioners.
The drastic decline in cinema culture resulted in some of the existing cinema houses being acquired by religious bodies and turned to churches; others were simply just closed down.
The Rise of Video Films and Nollywood
The emergence of the video film market in Nigeria is traced back to the 1980s when television productions thrived. Jimi Odumosu's Evil Encounter, a 1983 horror film released directly on television, was the first production to be a pointer to how lucrative making film directly on video could be. The film was extensively promoted before being aired on television, and as a result, had streets flooded in the following morning with video copies of the recorded broadcast. The industry's phenomenal growth was triggered in 1992 with the film Living in Bondage, the first commercially successful movie shot straight-to-video.
Living in Bondage (1992)
The first film produced on video in Nigeria was 1988's Soso Meji, produced by Ade Ajiboye. The film was also screened at the few available theatres at the time. However, the boom experienced in this era is generally believed to have been kickstarted by Kenneth Nnebue's Living in Bondage (1992).
As of 2004, at least four to five films were produced every day in Nigeria. According to the Filmmakers Cooperative of Nigeria, every film in Nigeria had a potential audience of 15 million people in Nigeria and about 5 million outside Nigeria. In no time, the industry became the third largest producer of films in the world.
The New Nigerian Cinema
This is an emerging phase in Nigerian cinema, in which there became a major shift in the method of film production, from the video format, back to the cinema method, which constituted the films produced in the Golden era. The Silverbird Group launched its cinema chains in 2004, starting with the Silverbird Galleria in Victoria Island, Lagos. The Silverbird Galleria is a large shopping mall, with an upscale cinema facility and various outlets where mercantile activities take place. The Silverbird experiment became very successful, and as a result, the group launched a few more cinema branches in Lagos and other cities in the country.
The popular 2009 thriller film The Figurine is generally considered the game changer, which heightened the media attention towards the "New Nigerian Cinema" revolution. By the end of 2013, the film industry reportedly hit a record breaking revenue of ₦1.72 trillion (US$11 billion). As of 2014, the industry was worth ₦853.9 billion (US$5.1 billion) making it the third most valuable film industry in the world, behind the United States and India.
Unlike the home video era, films in the new wave are generally of much improved quality, with considerably bigger budgets; averaging between ₦40 million (US$250,000) and ₦120 million ($750,000). These films' production periods take months and even span into years, a far cry from the films in video format which are usually shot in a matter of days or weeks.
Challenges and Opportunities
Despite its growth and global recognition, Nollywood faces several challenges:
- Piracy: Rampant film piracy continues to undermine revenue generation.
- Funding: Securing adequate funding for high-quality productions remains a hurdle.
- Infrastructure: The embryonic nature of Nigeria’s cinema infrastructure needs improvement.
However, there are also significant opportunities:
- Government Support: Initiatives and grants from the Nigerian government are boosting film production.
- Streaming Services: Partnerships with platforms like Netflix and Amazon Prime Video are expanding reach.
- Talent Pool: Nigeria’s young population is eager to fill roles in the industry.
The sector currently generates $600m yearly and employs more than one million people, making it second only to agriculture in the list of largest employers in Nigeria.
Notable Nigerian Films and Filmmakers
Several films and filmmakers have played a pivotal role in shaping Nollywood:
Notable Nigerian Films
- Living in Bondage (1992)
- The Figurine (2009)
- Ijé (2010)
- The Wedding Party (2016)
Notable Nigerian Filmmakers
- Dolapo “LowlaDee” Adeleke
- Jadesola Osiberu
- Kemi Adetiba
- Kunle Afolayan
- Tunde Kelani
The Future of Nollywood
Nollywood's contribution to the local economy cannot be overstated. The next big challenge will be keeping the talent pipeline constant in a growing industry that requires skilled people. With education, the quality of the movies we make in Nollywood would go toe-to-toe with any industry in the world. As Nigerian cinema becomes more in demand, production quality continues to grow.
The integration of streaming services, government support, and the passion of Nigerian filmmakers point towards a bright future for Nollywood. As the industry continues to evolve, it is poised to make an even greater impact on the global stage, sharing Nigerian stories and culture with the world.
Here is a table summarizing the key periods and events in the history of the Nigerian film industry:
| Period | Key Events |
|---|---|
| Colonial Era (1900s-1950s) | Early film screenings, establishment of the Nigerian Film Unit, mobile cinema vans. |
| Post-Independence (1960s-1980s) | Expansion of cinema houses, Indigenization Decree, oil boom. |
| Decline (1980s) | Economic challenges, transition to television productions. |
| Video Era (1990s-2000s) | Rise of video films, emergence of Nollywood, distribution through VHS. |
| New Nigerian Cinema (2000s-Present) | Shift to cinema method, improved quality and budgets, government support, streaming services. |
