Today, with the rapid development of cultural globalization and transnational capital, the world’s political economy has been integrated into an integrated flow, homogeneous imagination of the space system, national culture, especially the third world culture in the irresistible trend of the times how to highlight the local culture, how to re-establish their cultural identity, is a Urgent problems. For African filmmakers, since the corridors at Western festivals face a lot of criticism, and there is a suspicion of confrontation in identity, is it possible to open up a road to the future at home?
African filmmakers are sore to learn, and in their long practice they have pioneered a model to circumvent the festival, Nollywood: it seldom shows at the festival, but it has created a huge film culture industry within Africa. Facing the difficult reality of fewer African cinemas and almost no box office for African films, reducing production costs and avoiding cinema or festival channels, making video films has become a new strategic choice for African films. Since the 1990s, Nollywood has risen in Nigeria and become the world’s second largest film producer after Bollywood, India, with an annual output of more than 2,000 films. A 2002 New York Times article pioneered what Hollywood and Bollywood called the use of Nollywood. However, unlike Hollywood and Bollywood, Nollywood is so simple and fast that the threshold is so low that anyone who can afford to rent a video recording device can be a creator. The production model is also very special. The production cycle of a movie is only about 7-20 days, and the cost of shooting is usually between $20,000 and $40,000. Nigerian’s Film Industry: Nollywood Looks To Expand Globally, published in October 2014 in the Executive Briefings on Trade, said: Nollywood produces 50 films a week, solves the employment problem of more than a million people, becomes Nigeria’s second largest labor market after agriculture, and contributes to the Nigerian economy. The average income is $600 million.
Africa Renewal, an American magazine published in May 2013, reported that Africa’s 5.2% GDP growth in 2012 waslargely attributed to the African film industry, especially the Nigerian film industry represented by Norwood. Nollywood has not only created the continent’s most prosperous film industry, but also boosted tourism in and around the country. In Cameroon, known as “Little Africa,” people do not care about the technical quality of their films in the face of the fact that their own films are just starting. They are happy to accept their own films and the stories around them. As a result, “today, video films become Garner’s most popular mass entertainment.” Subsequently, through market tests, the video film gradually developed into an industry, and spread to Cameroon, Ghana, Kenya, Tanzania, Zimbabwe and other countries, as a phenomenon-level film movement sweeping the land of Africa.
In the documentary Welcome to Nollywood, 2007, which explores the current state of Nollywood, the camera language repeatedly emphasizes that, due to financial constraints, basically all Nollywood films are not shot in professional studios, but are shot directly on the streets of people, a little more elaborate. To places like dwellings, hotels and offices. Obviously, it is impossible for the works produced in this state to enter the festival’s vision. Some critics, as well as African directors with artistic pursuits, even accuse Nollywood of “having industry without aesthetics”, advocating that it would be better to leave the production without reducing the standard. But for African films facing identity crisis, Norwood’s successful model circumvents the notion that some African filmmakers are eager for instant success and instant profits, hoping to become famous with the help of several Western film festivals. In fact, it’s hard to get long-term financial support from film awards alone, and it’s hard to go far without focusing on output. Because film is an art, but also an industry, although can not give up the pursuit of art because of investment, but definitely should not be the capital of opinion and art opposition, only when the number of films enough to lay the pyramid foundation, and ultimately can lift the spire of African film art, so that African films can be heard in the world film. The stage is not coerced by foreigners.