Welcome, Guest: Register On Nairaland / LOGIN! / Trending / Recent / New
Stats: 3,143,313 members, 7,780,759 topics. Date: Thursday, 28 March 2024 at 09:23 PM

The Rise Of African Films - Culture - Nairaland

Nairaland Forum / Nairaland / General / Culture / The Rise Of African Films (6548 Views)

18+ Unclad Photos Of African Women Slaves From The Past. / Pictures Of African Traditional Clothing! / Marriage between Yoruba And Igbo people On The Rise (2) (3) (4)

(1) (2) (Reply) (Go Down)

The Rise Of African Films by anonymous6(f): 3:08pm On Nov 04, 2014
African film-making has come a long way since it was banned in French colonies prior to independence. Now, low budget Nigerian films are popular internationally, and South Africa has emerged as the continent’s Hollywood.

[b]African filmmakers today have more access to funding than ever before, while a host of initiatives and international links are spurring a filmmaking revolution. New technologies and Africa’s economic growth have caused a paradigm shift in business models and global mindset.

Back in colonial times, Africa was a mere exotic backdrop for Western filmmakers – in French colonies, Africans were forbidden by law to make films. In 1944 a short film was made in Paris, and North Africa was active in the 1950s, but only at the end of colonial rule in the 1960s did filmmaking in sub-Saharan Africa, by Africans, belatedly call: “Action!”

Francophone Africa’s filmmakers benefited from funding from the French Ministry of Cooperation. Up to the 1980s, it financed two thirds of sub-Saharan films, but British and Belgian ex-colonies had no such cultural encouragement. Though would-be filmmakers had to study film in Moscow or Paris, great Francophone African directors emerged, although women are underrepresented in the early days.

African filmmaking debuted in 1963, with the first film of the father of African cinema, distinguished Senegalese writer Ousmane Sembene. African filmmakers of the independence era saw filmmaking as an important political tool for reclaiming the image of Africa for Africans. With the creation of the Pan-African Film Festival Fespaco in 1969, held in Burkina Faso, African film had its own forum. The Federation of African Filmmakers (Fepaci) was formed to promote production, distribution and exhibition. Filmmaking then was primarily a Francophone sub-Saharan occupation.

New generation of directors

A landmark came in 1973, when the first African film was seen at the Cannes Film Festival (Touki Bouki by Djibril Diop Mambety) and in 1987 when the first film by a black African (Souleymane Cisse’s Yeelen) was selected for Cannes’ official competition. The challenge was to achieve recognition. African films had no hero and often no professional actors – they examined the cultural roots of societies under change, the conflict between tradition and modernity, rural and new urban lifestyles.

New, younger directors such as Jean Pierre Bekolo, Jean-Marie Teno, Pierre Yameogo and Abderrahmane Sissako emerged in the 1990s and won awards at international film festivals.

African audiences were hungry to see images of themselves on screen, but there was almost no infrastructure – and in some countries, no cinemas – to achieve this and, outside Burkina Faso, no national policies. Having directors but few producers, the industry was like a head without a body. With no labs in Africa, film had to be sent to France to be developed, meaning directors could not see their daily rushes. It was easier to see African films in Europe than in Africa.

In the 1990s, as French government funding to Africa waned and the fortunes of post-Apartheid South Africa waxed, Francophone African films lost their dominance and the emphasis shifted towards English-speaking productions. In South Africa, Afrikaners, shot the first feature as long ago as 1910. And since 1994, South Africa has become a location for foreign filmmakers – it has an established filmmaking infrastructure, a Hollywood-style film studio in Cape Town and an annual turnover of US$300 million.

There are government-funded bodies, regional film commissions and coproduction agreements with a number of countries. Broadcasters have local-content quotas and more than seven daily dramas or soap operas are produced. Gavin Hood’s gang drama Tsotsi (2005) – pictured opposite – won an Oscar and science fiction District 9 (2009), directed by Neill Blomkamp, was an international success.

From film to digital

The slow growth of African film is now in fast forward thanks to new technology. With digital media, filmmakers are no longer reliant on expensive 35 mm film. Production costs are becoming affordable, enabling a flow of content with transnational themes that could reach out to international audiences.

In Nigeria, there has been an explosion of low-budget, often low-quality, video filmmaking, dubbed Nollywood. Its commercial approach has made it the most prolific film industry after Bollywood, churning out over 2,000 films a year. What was just local investment or sponsorship is now international, with funds coming from the UK or US. The industry has an estimated turnover of $250 million.

Ghana, Kenya and South Africa have joined in and the African diaspora have begun to play a more important role.

Festivals, film schools and funding

For years Fespaco – now, significantly, titled the Pan-African Film and TV Festival – was the only African film festival. In February it screened 170 films from all over the continent. These days African film festivals are popular all over Africa and beyond. US actor Danny Glover, inspired by his visit to Fespaco, initiated his own Pan-African Film Festival in Los Angeles, which celebrated its 21st anniversary this year screening 154 films. In Africa, the annual African Movie Academy Awards, which rotates between host nations, rival the US’s Oscars, with entrants in 25 categories.

Some film festivals have tie-ins with distribution in their own country. The European Network of Film Festivals has set up the African Vision Exchange to do just that, though, importantly, commercial international distributors are still lacking. Without cinema distribution, directors are dependent on secondary income from pay TV and DVDs.

With new technology, distribution of film and television productions is starting to converge. Discop is an annual international market for African television productions. A huge library of African films past and present is available online through South African subscription TV channel M-Net’s African Film Library, with other smaller collections springing up. London is developing its own film archive – the Pan-African Film Library.

International links are boosting training. In East Africa, the International Emerging Film Talent Association partners with Ethiopian Film Initiative to train new directors. In Rwanda, filmmaker Eric Kabera founded the Rwanda film school and Rwanda Film Festival (Hillywood), which shows films on inflatable screens around the country, while Lee Isaac Chung’s Almond Tree Films links Rwanda with Tribeca in the US and Rotterdam in the Netherlands.

Meanwhile, the French TV network Canal France International’s Haraka! will award $12,293 to 12 African filmmakers to produce short films, which it will distribute in Africa and Europe.

Crossing over and globalisation

Directors such as Nigeria’s Kunle Afolayan (The Figurine) are making their own commercial international coproduction links. The irreverent Viva Riva! by Djo Munga of DR Congo, financed through his own Kinshasa production company and named Best African Movie at the MTV awards, has caught the international imagination – it was bought for distribution in 18 countries straight after its 2011 premiere at the Toronto Film Festival.

Getting international releasing outside the continent right, as well as revitalising the domestic market, are elements that are crucial to commercialising African film. Nigeria’s Cinemart is seeking to roll-out a chain of cinemas across Africa. The first Nigerian film to have a UK release, Mirror Boy, grossed £40,000 – overseas income would make a huge difference to the funding of future films.

Africa is a large continent and filmmaking there is as varied as it is in any continent. But, as yet, there is not enough Hollywood-standard material emerging. However, young filmmakers are emerging in Africa with a global vision that reflects the realities of contemporary life – rapid urbanisation, internet-enabled mobile phones and satellite TV in middle-class African homes. They are closer to their peers around the world and are asking the same questions about crowdfunding, platforms and technologies.[/b]
http://www.global-briefing.org/2013/04/the-rise-and-rise-of-african-films/
Re: The Rise Of African Films by Nobody: 6:45pm On Nov 05, 2014
I watched Sotsi, made in a strange South African language I could not hear. Was in tears most of the time.
Re: The Rise Of African Films by 2prexios: 6:53pm On Nov 05, 2014
Interesting post, the more the woods the merrier. I like to suggest a name for Nigeria film industry: nairaframe. Thank me later.
Re: The Rise Of African Films by 2prexios: 6:53pm On Nov 05, 2014
Interesting post, the more the woods the merrier. I like to suggest a name for Nigeria film industry: nairaframe. Thank me later. D;
Re: The Rise Of African Films by vandalZA(m): 8:18pm On Nov 06, 2014
My friend they won't comment to your post but if it was about rape in south Africa or crime, your post would have reached 20 pages......anyway I like your post it shows that many people want change in Nigerian movies
Re: The Rise Of African Films by CAMNEWTON4PRES: 7:24pm On Nov 07, 2014
South africa is the most cultural African country.
B it music ,movies, litterature etc

1 Like

Re: The Rise Of African Films by anonymous6(f): 8:17pm On Nov 07, 2014
vandalZA:
My friend they won't comment to your post but if it was about rape in south Africa or crime, your post would have reached 20 pages......anyway I like your post it shows that many people want change in Nigerian movies

Its sad where peoples attention are sometimes but true I like how the Nigerian film industry and other african film industries are progressing
Re: The Rise Of African Films by anonymous6(f): 8:19pm On Nov 07, 2014
CAMNEWTON4PRES:
South africa is the most cultural African country.
B it music ,movies, litterature etc

South Africa has culture but I don't see them as the most cultural in Africa though
Re: The Rise Of African Films by CAMNEWTON4PRES: 9:31pm On Nov 07, 2014
anonymous6:


South Africa has culture but I don't see them as the most cultural in Africa though

Who do u think is the most ?
Re: The Rise Of African Films by Nobody: 12:17pm On Nov 08, 2014
CAMNEWTON4PRES:
South africa is the most cultural African country.
B it music ,movies, litterature etc
Not sure about that. Apart from Sarafina, a handful other, South African film seems to too westernized for me. The music is good though. I suppose one could argue culture does not have to be ancient. My vote for the most cultural country would go to Nigeria.

2 Likes

Re: The Rise Of African Films by Nobody: 3:23pm On Nov 08, 2014
When did South-Africa become the Hollywood of Africa?
Re: The Rise Of African Films by Nobody: 3:34pm On Nov 08, 2014
anonymous6:
African film-making has come a long way since it was banned in French colonies prior to independence. Now, low budget Nigerian films are popular internationally, and South Africa has emerged as the continent’s Hollywood.

[b]African filmmakers today have more access to funding than ever before, while a host of initiatives and international links are spurring a filmmaking revolution. New technologies and Africa’s economic growth have caused a paradigm shift in business models and global mindset.

Back in colonial times, Africa was a mere exotic backdrop for Western filmmakers – in French colonies, Africans were forbidden by law to make films. In 1944 a short film was made in Paris, and North Africa was active in the 1950s, but only at the end of colonial rule in the 1960s did filmmaking in sub-Saharan Africa, by Africans, belatedly call: “Action!”

Francophone Africa’s filmmakers benefited from funding from the French Ministry of Cooperation. Up to the 1980s, it financed two thirds of sub-Saharan films, but British and Belgian ex-colonies had no such cultural encouragement. Though would-be filmmakers had to study film in Moscow or Paris, great Francophone African directors emerged, although women are underrepresented in the early days.

African filmmaking debuted in 1963, with the first film of the father of African cinema, distinguished Senegalese writer Ousmane Sembene. African filmmakers of the independence era saw filmmaking as an important political tool for reclaiming the image of Africa for Africans. With the creation of the Pan-African Film Festival Fespaco in 1969, held in Burkina Faso, African film had its own forum. The Federation of African Filmmakers (Fepaci) was formed to promote production, distribution and exhibition. Filmmaking then was primarily a Francophone sub-Saharan occupation.

New generation of directors

A landmark came in 1973, when the first African film was seen at the Cannes Film Festival (Touki Bouki by Djibril Diop Mambety) and in 1987 when the first film by a black African (Souleymane Cisse’s Yeelen) was selected for Cannes’ official competition. The challenge was to achieve recognition. African films had no hero and often no professional actors – they examined the cultural roots of societies under change, the conflict between tradition and modernity, rural and new urban lifestyles.

New, younger directors such as Jean Pierre Bekolo, Jean-Marie Teno, Pierre Yameogo and Abderrahmane Sissako emerged in the 1990s and won awards at international film festivals.

African audiences were hungry to see images of themselves on screen, but there was almost no infrastructure – and in some countries, no cinemas – to achieve this and, outside Burkina Faso, no national policies. Having directors but few producers, the industry was like a head without a body. With no labs in Africa, film had to be sent to France to be developed, meaning directors could not see their daily rushes. It was easier to see African films in Europe than in Africa.

In the 1990s, as French government funding to Africa waned and the fortunes of post-Apartheid South Africa waxed, Francophone African films lost their dominance and the emphasis shifted towards English-speaking productions. In South Africa, Afrikaners, shot the first feature as long ago as 1910. And since 1994, South Africa has become a location for foreign filmmakers – it has an established filmmaking infrastructure, a Hollywood-style film studio in Cape Town and an annual turnover of US$300 million.

There are government-funded bodies, regional film commissions and coproduction agreements with a number of countries. Broadcasters have local-content quotas and more than seven daily dramas or soap operas are produced. Gavin Hood’s gang drama Tsotsi (2005) – pictured opposite – won an Oscar and science fiction District 9 (2009), directed by Neill Blomkamp, was an international success.

From film to digital

The slow growth of African film is now in fast forward thanks to new technology. With digital media, filmmakers are no longer reliant on expensive 35 mm film. Production costs are becoming affordable, enabling a flow of content with transnational themes that could reach out to international audiences.

[s]In Nigeria, there has been an explosion of low-budget, often low-quality, video filmmaking, dubbed Nollywood. Its commercial approach has made it the most prolific film industry after Bollywood, churning out over 2,000 films a year. What was just local investment or sponsorship is now international, with funds coming from the UK or US. The industry has an estimated turnover of $250 million.[/s]

Ghana, Kenya and South Africa have joined in and the African diaspora have begun to play a more important role.

Festivals, film schools and funding

For years Fespaco – now, significantly, titled the Pan-African Film and TV Festival – was the only African film festival. In February it screened 170 films from all over the continent. These days African film festivals are popular all over Africa and beyond. US actor Danny Glover, inspired by his visit to Fespaco, initiated his own Pan-African Film Festival in Los Angeles, which celebrated its 21st anniversary this year screening 154 films. In Africa, the annual African Movie Academy Awards, which rotates between host nations, rival the US’s Oscars, with entrants in 25 categories.

Some film festivals have tie-ins with distribution in their own country. The European Network of Film Festivals has set up the African Vision Exchange to do just that, though, importantly, commercial international distributors are still lacking. Without cinema distribution, directors are dependent on secondary income from pay TV and DVDs.

With new technology, distribution of film and television productions is starting to converge. Discop is an annual international market for African television productions. A huge library of African films past and present is available online through South African subscription TV channel M-Net’s African Film Library, with other smaller collections springing up. London is developing its own film archive – the Pan-African Film Library.

International links are boosting training. In East Africa, the International Emerging Film Talent Association partners with Ethiopian Film Initiative to train new directors. In Rwanda, filmmaker Eric Kabera founded the Rwanda film school and Rwanda Film Festival (Hillywood), which shows films on inflatable screens around the country, while Lee Isaac Chung’s Almond Tree Films links Rwanda with Tribeca in the US and Rotterdam in the Netherlands.

Meanwhile, the French TV network Canal France International’s Haraka! will award $12,293 to 12 African filmmakers to produce short films, which it will distribute in Africa and Europe.

Crossing over and globalisation

Directors such as Nigeria’s Kunle Afolayan (The Figurine) are making their own commercial international coproduction links. The irreverent Viva Riva! by Djo Munga of DR Congo, financed through his own Kinshasa production company and named Best African Movie at the MTV awards, has caught the international imagination – it was bought for distribution in 18 countries straight after its 2011 premiere at the Toronto Film Festival.

Getting international releasing outside the continent right, as well as revitalising the domestic market, are elements that are crucial to commercialising African film. Nigeria’s Cinemart is seeking to roll-out a chain of cinemas across Africa. The first Nigerian film to have a UK release, Mirror Boy, grossed £40,000 – overseas income would make a huge difference to the funding of future films.

Africa is a large continent and filmmaking there is as varied as it is in any continent. But, as yet, there is not enough Hollywood-standard material emerging. However, young filmmakers are emerging in Africa with a global vision that reflects the realities of contemporary life – rapid urbanisation, internet-enabled mobile phones and satellite TV in middle-class African homes. They are closer to their peers around the world and are asking the same questions about crowdfunding, platforms and technologies.[/b]
http://www.global-briefing.org/2013/04/the-rise-and-rise-of-african-films/
The above is biased and filled with trash. Nollywood is purely a Nigerian concept. It's funding, production and distribution is purely a Nigerian Affair. It has nothing to do with the help of a 'superior' west. Nollywood showed the world the true Africa, and not some westernized films coming out from South-Africa. Without Nollywood there is no African film industry. Nollywood is Africa.
Re: The Rise Of African Films by CAMNEWTON4PRES: 10:09pm On Nov 08, 2014
muafrika:
Not sure about that. Apart from Sarafina, a handful other, South African film seems to too westernized for me. The music is good though. I suppose one could argue culture does not have to be ancient. My vote for the most cultural country would go to Nigeria.

Westernized as in ?

What I meant was in term of having their culture in the mainstream media/society they are ranked first.

Opera singing in local languages
Books written in local languages
Poetry
Music
Unlike other countries where the culture is either abandoned or completely folkloric talk less about the languages
Re: The Rise Of African Films by CAMNEWTON4PRES: 10:14pm On Nov 08, 2014
Chiwude:
The above is biased and filled with trash. Nollywood is purely a Nigerian concept. It's funding, production and distribution is purely a Nigerian Affair. It has nothing to do with the help of a 'superior' west. Nollywood showed the world the true Africa, and not some westernized films coming out from South-Africa. Without Nollywood there is no African film industry. Nollywood is Africa.

How is it biased ?

You are actually the one being biased, nollywood showed the world Nigeria as it Nigeria oriented
Again I need to ask westernized as in ? The we will proceed

Anyway why do you feel praises on SA film industry are an attack on nollywood undecided Eh Eh calm down
Re: The Rise Of African Films by anonymous6(f): 1:20am On Nov 09, 2014
Chiwude:
The above is biased and filled with trash. Nollywood is purely a Nigerian concept. It's funding, production and distribution is purely a Nigerian Affair. It has nothing to do with the help of a 'superior' west. Nollywood showed the world the true Africa, and not some westernized films coming out from South-Africa. Without Nollywood there is no African film industry. Nollywood is Africa.

Yea I know Nollywood was never funded from the UK and US, many didn't even know of Nollywoods existence until these recent few years, So I don't agree with that part of the article.
Re: The Rise Of African Films by CAMNEWTON4PRES: 2:21am On Nov 09, 2014
anonymous6:


Yea I know Nollywood was never funded from the UK and US, many didn't even know of Nollywoods existence until these recent few years, So I don't agree with that part of the article.

How do you know that ?

My umderstanding is that they meant nigerians living in the uk and us, not sure I understand what the problem here is ?
Re: The Rise Of African Films by Nobody: 4:17am On Nov 09, 2014
muafrika:
Not sure about that. Apart from Sarafina, a handful other, South African film seems to too westernized for me. The music is good though. I suppose one could argue culture does not have to be ancient. My vote for the most cultural country would go to Nigeria.

Westernized? Most SA movies are about contemporary SA and the language is African.
How many SA movies have you watched?
Re: The Rise Of African Films by Nobody: 4:21am On Nov 09, 2014
Chiwude:
The above is biased and filled with trash. Nollywood is purely a Nigerian concept. It's funding, production and distribution is purely a Nigerian Affair. It has nothing to do with the help of a 'superior' west. Nollywood showed the world the true Africa, and not some westernized films coming out from South-Africa. Without Nollywood there is no African film industry. Nollywood is Africa.

How are SA films Westernized?
Re: The Rise Of African Films by Nobody: 4:31am On Nov 09, 2014
typical SA movie

South African Venda movie heading for Oscars.

Venda film, Elelwani chosen to represent SA at Oscars

03-OCT-2014
South African Venda film, Elelwani, was chosen to represent the country as the official entry for an Oscar in the Best Foreign Language Film category for the Annual Academy Awards.




Starring Florence Masebe, Vusi Kunene the movie, tells the story of Elelwani and her boyfriend who return home after university to tell Elelwani’s family of their plans to marry and travel the world together.

The film is based on the novel by Dr. Titus Maumela and is directed by Ntshavheni wa Luruli.

The beauty of the film is that is explores the Tshivenda culture in detail

At the African Movie Academy Awards the film took home the award for best production design and Florence Masebe won the award for best actress in a leading role.

If nominated by the Oscar committee; Elelwani will join Tsotsi and previously nominated Yesterday as South African films that have been represented at the Oscars.
www.sundayworld.co.za/lifestyle/2014/10/03/venda-film-elelwani-chosen-to-represent-sa-at-oscars
Re: The Rise Of African Films by vandalZA(m): 5:31am On Nov 09, 2014
vdGeist:


How are SA films Westernized?
their surprised by the quality pictures, the professionalism of the actors the surroundings of the sound........so they expected those to be identical to Nigerian and if not so, the movie is westernised.......the poor pictures and poor surroundings of the sound of the movie shows that the movie is African?........let's not have such mentality..........south Africa produce movies that can compete with the world movies and that its due to the money they put on those movies...

3 Likes

Re: The Rise Of African Films by vandalZA(m): 5:37am On Nov 09, 2014
vdGeist:
typical SA movie

South African Venda movie heading for Oscars.

Venda film, Elelwani chosen to represent SA at Oscars

03-OCT-2014
South African Venda film, Elelwani, was chosen to represent the country as the official entry for an Oscar in the Best Foreign Language Film category for the Annual Academy Awards.




Starring Florence Masebe, Vusi Kunene the movie, tells the story of Elelwani and her boyfriend who return home after university to tell Elelwani’s family of their plans to marry and travel the world together.

The film is based on the novel by Dr. Titus Maumela and is directed by Ntshavheni wa Luruli.

The beauty of the film is that is explores the Tshivenda culture in detail

At the African Movie Academy Awards the film took home the award for best production design and Florence Masebe won the award for best actress in a leading role.

If nominated by the Oscar committee; Elelwani will join Tsotsi and previously nominated Yesterday as South African films that have been represented at the Oscars.
www.sundayworld.co.za/lifestyle/2014/10/03/venda-film-elelwani-chosen-to-represent-sa-at-oscars
I thought inumber number will be the one to be nominated for Oscars....sad!
Re: The Rise Of African Films by Nobody: 7:16am On Nov 09, 2014
vdGeist:


Westernized? Most SA movies are about contemporary SA and the language is African.
How many SA movies have you watched?
Perhaps thats it. Conteporary. They tend to be that. And like many other African countries, it tends to have alot of west. They may be speaking zulu but what are they doing? Ive seen more SA soaps than movies. Alot of emphasis on social class and materialism, homosexuality...

1 Like

Re: The Rise Of African Films by Nobody: 7:49am On Nov 09, 2014
CAMNEWTON4PRES:


Westernized as in ?

What I meant was in term of having their culture in the mainstream media/society they are ranked first.

Opera singing in local languages
Books written in local languages
Poetry
Music
Unlike other countries where the culture is either abandoned or completely folkloric talk less about the languages
You do try with the language, but culture is more than language. Compared to a Nigerian film which, done in English, will have an African perspective on relationships, ceremonies, dispute resolution, spirituality, a South African production is likely to have everything you would expect from a hollywood perspective, done in Zulu, e.t.c Opera in Zulu is a perfect example. Soaps have divorce, thuggery, homosexuality campaigns. I would love to know the reasoning behind the parameters used for the ranking. There are other countries who have made milestones in not just using local languages in song, poetry, etc

2 Likes

Re: The Rise Of African Films by Nobody: 7:54am On Nov 09, 2014
muafrika:
Perhaps thats it. Conteporary. They tend to be that. And like many other African countries, it tends to have alot of west. They may be speaking zulu but what are they doing? Ive seen more SA soaps than movies. Alot of emphasis on social class and materialism, homosexuality...

So only movies like Shaka Zulu are appropriate,
I guess Nollywood makes the most westernized films.
Re: The Rise Of African Films by Nobody: 7:56am On Nov 09, 2014
muafrika:
You do try with the language, but culture is more than language. Compared to a Nigerian film which, done in English, will have an African perspective on relationships, ceremonies, dispute resolution, spirituality, a South African production is likely to have everything you would expect from a hollywood perspective, done in Zulu, e.t.c Opera in Zulu is a perfect example. Soaps have divorce, thuggery, homosexuality campaigns. I would love to know the reasoning behind the parameters used for the ranking. There are other countries who have made milestones in not just using local languages in song, poetry, etc

Are you talking about soapies or movies?
Re: The Rise Of African Films by Nobody: 8:03am On Nov 09, 2014
vdGeist:


Are you talking about soapies or movies?
Both. The production, writting, acting, direction is done by the same group of people. Are movies more cultural than soaps?
Re: The Rise Of African Films by Nobody: 8:10am On Nov 09, 2014
vdGeist:


So only movies like Shaka Zulu are appropriate,
I guess Nollywood makes the most westernized films.
Not necessarily. You could be more culturally oriented in a sharp suit in an office than a bar stripper in a traditional sisal skirt or the local village lesbian who pays dowry for her partner.
Re: The Rise Of African Films by Nobody: 8:39am On Nov 09, 2014
muafrika:
Not necessarily. You could be more culturally oriented in a sharp suit in an office than a bar stripper in a traditional sisal skirt or the local village lesbian who pays dowry for her partner.

I've never seen these soapies though, which one is it? I think you're generalizing, everything you've said about SA soapies, I can say about some nollywood films.

Have you seen soapies like muvhango and isibaya.
Re: The Rise Of African Films by Nobody: 8:46am On Nov 09, 2014
muafrika:
Both. The production, writting, acting, direction is done by the same group of people. Are movies more cultural than soaps?

The only soapie with homosexuality I've heard about is Generations, which isn't even showing anymore.
Again, everything you've said about SA soapies one can say about nollywood films, there're even nollywood films with titles like "men in love", I think you're bias.

Watch soapies like muvhango or isibaya.
Re: The Rise Of African Films by Nobody: 12:36pm On Nov 09, 2014
vdGeist:


I've never seen these soapies though, which one is it? I think you're generalizing, everything you've said about SA soapies, I can say about some nollywood films.

Have you seen soapies like muvhango and isibaya.
Giving an example of South African conteporary life style. I think a famous lesbian did that. I havent watched the two. Hope its more than SA just language. But like I said, culture does not have to be 1000 years old, and yes, SA does make alot of effort. I haven't seen the Nigerian film either. I have also seen some of those done from a western perspective. But there is always something very Nigerian about most of them. I am not biased, as an outsider in both cases. I think its understandable because the recent history of the two countries differ. South Africa has its own competitive edge. Technically- story line, production, distribution, even acting. The cultural edge is elsewhere.
Re: The Rise Of African Films by Nobody: 12:36pm On Nov 09, 2014
vdGeist:


I've never seen these soapies though, which one is it? I think you're generalizing, everything you've said about SA soapies, I can say about some nollywood films.

Have you seen soapies like muvhango and isibaya.
Re: The Rise Of African Films by anonymous6(f): 7:48pm On Nov 09, 2014
CAMNEWTON4PRES:


How do you know that ?

My umderstanding is that they meant Nigerians living in the uk and us, not sure I understand what the problem here is ?

I think The article should have clarified when they said the UK & US funded cause when most people read it they will think it means westerners, non-Africans funded Nollywood which isn't the truth but you are right if they meant that Nigerians living in the UK and the US then it is ok. To be honest I didn't think to much into that part of the article.

(1) (2) (Reply)

Which is Easiest To Learn: Hausa, Igbo Or Yoruba? / Richest And Prominent Tribes In Africa / 14 African Countries Still Pay Colonial Masters

(Go Up)

Sections: politics (1) business autos (1) jobs (1) career education (1) romance computers phones travel sports fashion health
religion celebs tv-movies music-radio literature webmasters programming techmarket

Links: (1) (2) (3) (4) (5) (6) (7) (8) (9) (10)

Nairaland - Copyright © 2005 - 2024 Oluwaseun Osewa. All rights reserved. See How To Advertise. 97
Disclaimer: Every Nairaland member is solely responsible for anything that he/she posts or uploads on Nairaland.