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NollywoodThe Creation of Nigerian Film Genres$
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Jonathan Haynes

Print publication date: 2016

Print ISBN-13: 9780226387819

Published to Chicago Scholarship Online: May 2017

DOI: 10.7208/chicago/9780226388007.001.0001

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New Nollywood and Kunle Afolayan

New Nollywood and Kunle Afolayan

Chapter:
(p.285) Chapter 12 New Nollywood and Kunle Afolayan
Source:
Nollywood
Author(s):

Jonathan Haynes

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226388007.003.0012

“New Nollywood” names a strategy by independent producer/directors to make films with larger budgets and of higher quality, suitable for screening in theaters. The strategy depends on the new multiplex cinemas in Nigeria, on screenings abroad, and on foreign DVD sales. The few screens available in Nigeria form a precarious economic basis, and the films must target an elite demographic in Nigeria and the Nigerian diaspora. Kunle Afolayan is the leading director of such films. His situation and strategies are inscribed in his first three films. Aesthetically and thematically, Irapada is close to the Yoruba film tradition in which his father Adeyemi Afolayan was a major star. The Figurine is sophisticated and cosmopolitan, designed to appeal to both foreign and Nigerian audiences. Phone Swap, a light romantic comedy, continues Afolayan’s vision of the Nigerian nation, unified across ethnic, cultural, and class divisions.

Keywords:   New Nollywood, Kunle Afolayan, multiplex cinemas, Nigerian nationalism, Yoruba films, film industry, film audience, auteur directors

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