Towards decolonizing film distribution and exhibition practices in 21st-century Nigeria

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Yinka Akintunde Fagbile

Abstract

This paper examines the need to decolonize film distribution and exhibition practices in Nigeria in the 21st century. The paper reviews the history of film exhibition and distribution in Nigeria and argues that contemporary film production and distribution processes preserve a colonial mindset that fails to recognize and implement cultural and new technological diversity. The paper discusses the implications of this colonial mindset on the film industry of Nigeria and reviews different initiatives, both established and proposed, that aim to rectify the current film practices. The primary objective of this research is to develop an understanding of how to decolonize film distribution and exhibition practices in 21st-century Nigeria. Through a political economy approach, this paper examines critical issues surrounding the calls for decolonizing film distribution and exhibition practices in the Nigerian film industry and the need for Nollywood to leverage the use of technology and the internet to unbundle neocolonial practices. This is by supporting competitive alternative networks and embracing homegrown film investments through a public-private partnership (PPP) approach. This model will create the enablement, in line with a workable film policy, to develop multi-level distribution platforms for boundary spanners and the creative industry while developing the national film culture simultaneously. The paper argues that this hybrid initiative will aid in shaking off the structural limitations imposed through colonialism, “failings and restrictions” left behind by colonial and postcolonial experiences. In conclusion, the paper proposes strategies that can be utilized to decolonize film distribution and exhibition practices in Nigeria in the 21st century.


 

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How to Cite
Fagbile, Y. A. . (2023). Towards decolonizing film distribution and exhibition practices in 21st-century Nigeria. Advanced Journal of Theatre and Film Studies, 1(2), 62-68. https://doi.org/10.57040/ajtfs.v1i2.463
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