NOLLYWOOD AND THE BLACK IDENTITY
This article was compiled by Jodi Phillips May 2014, for the Institute of Black Academics
concerning Black Under achievement.
PUBLISHED 09 MAY 2014 04:26
The Nigerian movie industry (Home video Industry) a.k.a Nollywood has been typically accepted to have started-- immediately following the success of Ken Nebue’s “Living in bondage”. From then on, its expansion and attendant complications are known (by fascinated parties). However , events preceding 1992, are not popular even although a few have tried to trace the history of Nollywood. Here is an abridged edition (yet richly enlightening) from one of several articles i published concerning this topic matter.
Film exhibition began to thrive for the duration of the Colonial era, with Glover Memorial Hall playing host to a array of unforgettable films viewed by “potential Nigerians”, in August 1903. However, the non-availability of proper data reflecting the title of the debut movie exhibited has created a lapse in the precedent stock. Notwithstanding the lacuna, the way have been paved for that exhibition of additional foreign films at the Hall at identical time as other designated venues.
The emotionally traumatizing “Master – Servant” relationship, apparent in the constant assaults, batteries, intimidation, segregation, victimization, carried out while using Colonial masters on the colonized, with darkened clouds of resentment, vengeance, thirst for freedom, offering option to splattering drops of such thoughts, instinctively projected consequently of the colonized intermittent in-subordinate actions, began to distribute one of many blacks. The British realized they had to thread with caution when they even now desired to take part in “god” inside their lives when films just like Tales of Manhattan, Trailer horn, Tarzan series began to stir up a revolution in the hearts of Blacks around the globe.
Aware of the lethal energy of insurgency which could be unleashed consequently of the movie medium, the British out of fearfulness for his or her lives and achievable the loss of the Queen’s sovereignty took the bull while using horn, and swiftly created a Colonial movie Censors Board (FCB) in 1933 to censor and classify films just before they were released for visual consumption while using public. Following the establishment of the board, Films just like “The primitive, primitive man, Dixie, Buffalo Bill, The Keys of the Kingdom, Sleepy village Girl were tagged ‘suitable’ to be watched , while Dr Jekyll and Mr Hyde, Clive of India, The Isle of Forgotten Sins, home of Frankenstein were considered as unsuitable for viewing .
The Censor’s amount underwent a transformation process into the Federal Board of movie Censors (FBFC) from your aforementioned, along while using laws from which the changed amount derived its powers ranged from your 1948 Cinematograph Laws of Nigeria, the Cinematograph Laws of 1963, towards 1963/64 Cinematograph regulation and Regulations. The existing National movie and Video Censors Board came into existence by virtue of decree, now Act 85 of 1993. The advent of Nigeria’s Independence (1960) along while using Republican status (1963), heralded the dawn of a new era in all sectors.
“The Yoruba Travelling Theatre Group” of the 60′s and 70′s can be proven to given that the “Fountain Head” of movie productions in Nigeria. The veterans with excellent Theatrical skills and excellent performances took their works outside of the stage, and dove into the sea of movie productions making utilization of the Celluloid format. Notable movie makers on the Roll phone of Honour for the duration of the Celluloid boom era of the 70′s include Ola Balogun, Eddie Ugbomah, late Herbert Ogunde, Adeyemi Afolayan a.k.a Ade adore (father of Kunle Afolayan of the Irapada fame), Ladi Ladebo, Moses Adejumo, Adebayo Salami and Afolabi Adesanya.
The list of documented films created for the duration of the 70′s era and transcending somewhat into the 80′s is simply astonishing and goes to demonstrate that the Movie Industry has been near to much longer, contrary towards ‘1992 perception syndrome’ most are already injected with such works include Kongi Harvest (1971), Alpha (1972), Bull Frog in the sunlight (1974), Amadi (1975), Ajani Ogun (1975), Muzik Man (1976), Bisi, Daughter of the River (1977), Ija Ominira (1978), Aiye (1979), Kadara (1980), Jaiyesimi (1980) Efunsetan Aniwura (1981), Cry independence (1981),Ija Orogun (1982) Owo L’Agba (1982).
The cost of creating films in that era was financially back breaking, with Nigerians much more aggravating the efforts of the filmmakers by opting to measure out films of occidental and oriental origin at the Cinemas and Exhibition centres, rather versus the locally created ones. The Cowboy films were exhilarating to measure out while the Chinese films paraded among others, the Legendary “Bruce Lee” in (Lo Wei’s, The enormous superior (1971), Fist of Fury (1972), means of the Dragon (1972), key in the Dragon (1973), The video game of passing away released in 1978) who exhibited fighting techniques dexterity, clearly a fighting technique alien, yet fascinating to us at that time. [Source : http://www.nairaland.com/566289/history-nollywood-nigerias-mega-film].