Table of Contents

Transnational Culture in the Internet Age

Transnational Culture in the Internet Age

Elgar Law, Technology and Society series

Edited by Sean A. Pager and Adam Candeub

The insightful contributions shed new light on insufficiently examined issues and highlight connections that cut across the many different domains in which such regulations operate. Building upon the framework presented by David Post – one of the first and most prominent scholars of cyber law and a contributor to this volume – the authors address the implications and economics of the Internet’s astronomical scale, jurisdiction and enforcement of the web as it relates to topics including libel tourism and threats to free speech, and the power of global communication to dissolve and recreate identities.

Chapter 11: The Nigerian Film Industry and Lessons Regarding Cultural Diversity from the Home-Market Effects Model of International Trade in Films

Mark F. Schultz

Subjects: innovation and technology, technology and ict, law - academic, intellectual property law, international economic law, trade law, internet and technology law, politics and public policy, public policy

Extract

Mark F. Schultz1 11.1 INTRODUCTION Nollywood, the Nigerian video film industry, is an unlikely success story. With an output of between 800 and 1500 films per year, it is one of the most productive, if not the most productive, of the world’s film industries.2 Its success is even more remarkable considering that Nigerians have long had easy and pervasive access to inexpensive, pirated versions of both Hollywood and Bollywood movies. Nollywood thrives, even against titanic competition from the West and East. In a mere two decades, Nollywood has become one of the world’s most important creative industries.3 It has been an explosive commercial success, with vast numbers of videos available in shops and on street corners throughout Africa and beyond.4 The films are widely shown on The author wishes to thank participants in Michigan State University’s Bits Without Borders Conference. In particular, I appreciate extensive comments from Steven Wildman and Sean Pager. Further thanks are due to my colleague, John McCall, of Southern Illinois University’s Anthropology Department for his introduction to the Nollywood phenomenon and his continuing and insightful guidance through the world of African film. Errors and shortcomings in this chapter are, of course, my own. 2 Jonathan Haynes, Nollywood in Lagos, Lagos in Nollywood Films, Afr. Today 131, 137 (2007). 3 Also see Sean Pager, Chapter 12 in this volume, for a similar discussion of Nollywood’s commercial and cultural significance. 4 Jonathan Haynes, Video Boom: Nigeria and Ghana, Postcolonial Text (vol. 3, May 2007), http://postcolonial.org/index.php/pct/article/view/522/422 at 1...

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