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Global Nollywood considers this first truly African cinema
beyond its Nigerian origins. In 15 lively essays, this volume
traces the engagement of the Nigerian video film industry with the
African continent and the rest of the world. Topics such as
Nollywood as a theoretical construct, the development of a new,
critical film language, and Nollywood s transformation outside of
Nigeria reveal the broader implications of this film form as it
travels and develops. Highlighting controversies surrounding
commodification, globalization, and the development of the film
industry on a wider scale, this volume gives sustained attention to
Nollywood as a uniquely African cultural production."
Global Nollywood considers this first truly African cinema
beyond its Nigerian origins. In 15 lively essays, this volume
traces the engagement of the Nigerian video film industry with the
African continent and the rest of the world. Topics such as
Nollywood as a theoretical construct, the development of a new,
critical film language, and Nollywood s transformation outside of
Nigeria reveal the broader implications of this film form as it
travels and develops. Highlighting controversies surrounding
commodification, globalization, and the development of the film
industry on a wider scale, this volume gives sustained attention to
Nollywood as a uniquely African cultural production."
The author considers the Elizabethan playwright Ben Jonson a
realist and an acute observer of the transformation from feudalism
to capitalism. Many of the forms and purposes of Jonson's realism
resulted from the social dynamics of the London theater audience.
In this book, Haynes presents a detailed literary historical
argument about the sources and consequences of Jonson's realism. He
examines the entanglements of life and art in Jonson's time both
through a look at the life of that period and through insightful
readings of Jonson's plays. The book polemicizes against the moral
and formal pre-occupations of the last two generations of Jonson
criticism proceeding it; it is instead informed by the social
history and by the sociology of Pierre Bordieu and Norbert Elias.
Nigeria's Nollywood has rapidly grown into one of the world's
largest film industries, radically altering media environments
across Africa and in the diaspora; it has also become one of
African culture's most powerful and consequential expressions,
powerfully shaping how Africans see themselves and are seen by
others. With this book, Jonathan Haynes provides an accessible and
authoritative introduction to this vast industry and its film
culture. Haynes describes the major Nigerian film genres and how
they relate to Nigerian society its values, desires, anxieties, and
social tensions as the country and its movies have developed
together over the turbulent past two decades. As he shows,
Nollywood is a form of popular culture; it produces a flood of
stories, repeating the ones that mean the most to its broad
audience. He interprets these generic stories and the cast of
mythic figures within them: the long-suffering wives, the business
tricksters, the Bible-wielding pastors, the kings in their
traditional regalia, the glamorous young professionals, the
emigrants stranded in New York or London, and all the rest. Based
on more than twenty years of research, Haynes's survey of
Nollywood's history and genres is unprecedented in scope, while his
book also vividly describes landmark films, leading directors, and
the complex character of this major branch of world cinema.
The author considers the Elizabethan playwright Ben Jonson a
realist and an acute observer of the transformation from feudalism
to capitalism. Many of the forms and purposes of Jonson's realism
resulted from the social dynamics of the London theater audience.
In this book, Haynes presents a detailed literary historical
argument about the sources and consequences of Jonson's realism. He
examines the entanglements of life and art in Jonson's time both
through a look at the life of that period and through insightful
readings of Jonson's plays. The book polemicizes against the moral
and formal pre-occupations of the last two generations of Jonson
criticism proceeding it; it is instead informed by the social
history and by the sociology of Pierre Bordieu and Norbert Elias.
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