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.