Next up, Nollywood!
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Digital production has allowed filmmakers to feed a huge demand in Nigeria.
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Twenty films a week, shot with hand-held cameras and produced on budgets of $20,000 or less, are released to audiences in Nigeria. This surpasses the production output of the United States, Japan, China, France, Germany, Spain, Italy, South Korea and the UK. Only India's Bollywood industry can claim higher numbers, according to a UNESCO study released earlier this year.
The reason you haven't seen Nigerian films in theaters in the US, despite the tireless and prolific efforts of the filmmakers of West Africa's most populous country, is due to the format of the productions. Digital production has allowed filmmakers to feed a huge demand for movie entertainment in Nigeria without spending the kind of money it takes to produce a film for the big screen. Audiences view new films on DVD at local "video theaters" or in their homes. It's a totally different way of understanding the film industry, but it's also hugely successful in reaching the widespread audiences in Nigeria and West Africa.
The rest of the world has not taken Nigeria's digital filmmaking prowess lightly. This year, the ION film festival will hold their annual event in Port Harcourt, Nigeria (following 2008's festival in Dubai, and 2007 in Hollywood). By promoting independent film, documentary, music video, and animation, ION has kept tabs on the buzz of indie markets as the accessibility of digital production has blossomed across the globe.
Interestingly, the digital era has also made illegal video pirating more of a widespread problem, leading some to wonder how much industries like Bollywood and those in the US have been forced to scale back. Digital producers in developing countries seem to hold a relative advantage in the face of the worldwide technological sea change. It's the YouTube revolution, kids, and it's not over.
Still, Nigeria faces challenges in seeking a level of quality in film production. Over the last twenty years, since the industry's humble beginnings in the VHS era, various business interests have invested money in new works and used their financial influence to set the tone of the artwork produced. The themes of the stories and the level of technical expertise reflect an industry that is emerging--drawing out new voices, while trying to cater to market demand. New regulations in distribution and economic struggles have also hurt the industry to some extent, and many are placing high expectations on ION to reinvigorate the spirit and public interest in quality independent film in Nigeria.
To get a sense of what it's like to make a film in Nollywood, see Franco Sacchi's documentary This is Nollywood or watch this 2007 segment on Current TV.



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