₦airaland Forum

Pre-Independence

In 1954, before Nigeria's independence, the Nigerian film industry became formally recognized as a sector and was grouped as a unit in the information department of the then Ministry of Information.[17] This unit was a re-organized local unit, which united the broader term 'Nigerian Film Unit' which had been established in 1949;[2] the function of this film unit was to produce documentary films and newsreels on local events of great importance, leading to the dominance of educative films in Nigerian theatres in the late 1950s[17] As at 1954, mobile cinema vans played to at least 3.5 million people in Nigeria, and films being produced by the Nigerian Film Unit were screened for free at the 44 available cinemas.[2] The first film entirely copyrighted to this unit is Fincho (1957) by Sam Zebba; Fincho is also known as the first Nigerian film to be shot in colour.[18]

Post-Independence

After Nigeria gained independence in 1960, the cinema business rapidly expanded, with new cinema houses being established.[11] However, there came a significant influx of American, Indian, Chinese and Japanese films; posters of films from these countries were all over theatre halls and actors from these industries became very popular in Nigeria. It was reported that Nigerian kids began to know more on "travails of American Indians than they did about the Wole Soyinka-led Mbari Mbayo cultural group, or the socio-cultural history of Nigeria".[10][17] However, in the late 1960s and into the 1970s Nigerian productions in theatres increased gradually, especially productions from Western Nigeria; this was basically due to former theatre practitioners such as Hubert Ogunde, Moses Olaiya, Jab Adu, Isola Ogunsola, Ladi Ladebo, Sanya Dosumu and Sadiq Balewa amongst others, who transitioned into the big screen.[4][5][17] Latola Films, which started the production of motion pictures since 1962, has often been noted as the earliest Nigerian indigenous film production company.[19] Television broadcasting in Nigeria also began in the 1960s and received much government support in its early years.[9]

Golden Age or Golden era are terms used in Nigerian film history to designate the motion picture industry of Nigeria from the late 1950s to the late 1980s.[1] It captures the mode of visual and sound production, as well as the method of distribution employed during this period. This period began with the formal recognition of the Nigerian Film Unit as a sector in 1954,[2] with the first film entirely copyrighted to this unit being Fincho (1957) by Sam Zebba.

After Nigeria's independence in 1960, the cinema business rapidly expanded, with new cinema houses being established.[3] As a result, Nigerian content in theatres increased in the late 1960s into the 1970s, especially productions from Western Nigeria, owing to former theatre practitioners such as Hubert Ogunde and Moses Olaiya transitioning into the big screen.[4][5] In 1972, the Indigenization Decree was issued by Yakubu Gowon, which demanded the transfer of ownership of about a total of 300 film theatres from their foreign owners to Nigerians, which resulted in more Nigerians playing active roles in the cinema and film.[6]

The oil boom of 1973 through 1978 also contributed immensely to the spontaneous boost of the cinema culture in Nigeria, as the increased purchasing power in Nigeria made a wide range of citizens to have disposable income to spend on cinema going and on home television sets.[4] After several moderately successful films, Papa Ajasco (1984) by Wale Adenuga became one of the first Nigerian Blockbusters, reportedly grossing about ₦61,000 (approx. 2015 ₦21.5 million) in three days. A year later, Mosebolatan (1985) by Moses Olaiya also grossed ₦107,000 (approx. 2015 ₦44.2 million) in five days.[7] The 1980s was also the period of major boom in the television industry, with several books from notable authors being adapted into television series.[8] Many of these television productions were later released on video and as a result, a small scale informal video trade developed, which led to the emergence of the Video boom in the 1990s.[9]

The Golden Age began to face a major gradual decline in the late 1980s; This decline has been attributed to several factors, including the reduction in the value of Naira, lack of finance and marketing support, lack of standard film studios and production equipment, frequent Government structural adjustment programmes due to military dictatorships,[4] as well as inexperience on the part of practitioners.[10][11][12] It is also generally believed by stakeholders that the decline in this era was due to negligence as a result of the oil boom, which affected other sectors of the Nigerian economy as well.[10][6] It has also been noted to be as a result of increase in the ownership of television sets across the country; the films produced during this era usually screened over a single weekend and are released on video the following week, it no longer made sense anymore to visit the theatres and most families preferred to wait a few days to get their hands on the VHS copies.[12][13] In the early 1990s, only a few of the once vibrant cinema houses were still in operation, and all had collapsed before 1999.[11] However, as at 2009, there's an emerging movement in the film industry, which is rapidly reviving the cinema culture of Nigerians once again.[14][15][16]

Noneroone:
That's exactly what someone without strong argument would say.

neyorlmogzy:
old age retired her, not the injuries or lack of clubs..you can't compel your body to do rigorous things @40 and expect it not to react.Taribo west did same and so many other African players. How she say she is 28yrs old?

Noneroone:
You're still saying the same thing. It's not all about academic qualification, cinemas and film village, its about how money spinning it is. I'm inclined to believe it wasn't otherwise it would have been continued and expanded by subsequent generation of film makers. Don't even give me the economic recession excuse. of course movie production has been around way before living in bondage but my point is whether it could really be called an industry. That's why I asked whether you can have a movie industry without home video.

Nollywood changed all that. It gave birth to a movie industry in its true sense. Direct to home movies gave marketers and producers big returns, directors and writers made money and actors became popular and richer. more returns meant more and more movies. Actors formed their guild, video clubs began to boom and the government even had to establish the national films and video censors board to censor and control movies in the new industry. That is a huge different.

Coming to the original question asked by the op, yes! nollywood is Igbo. The different segments of the Nigerian movie industry evolved separately owing to cultural peculiarities, different norms and challenges. Northern segment now called kannywood has its history and style. You hear them sanctioning actresses for photoshoots adjudged indecent. In fact sometimes their movies look like Bollywood. Yoruba's have their own history. In fact the story of ola balogun, ogunde etc tell the history of Yoruba film making. Igbos also have their own history preceding the 90s. You have things fall apart and some other popular series before living in bondage. It is the Igbo segment which later incorporated English language for wider reach that was branded Nollywood.

MISTAICEY02288:
Really sad to see a promising lady like this retire at that young age.. Some people are just not lucky with this football business sha..

Meanwhile OP, Bịa why does your story read " Yesterday June 6th" when you just created the topic today? 10th... You could have simply said on her birthday June 6th. No need to add the Yesterday to it.... Even if you wanted to lift, couldn't you have properly edited well before posting it?

Gaelle Enganamouit announces retirement from football at 28

Samuel Ahmadu
Africa Women's Football Correspondent

13:24. 09/06/2020.

The Cameroon international has decided to hang up her boots on her 28th birthday
Cameroon international Gaelle Enganamouit has announced her retirement from football at the age of 28, Goal understands.

The striker has been without a club since she mutually parted ways in April 2019 with Spanish side Malaga, who she joined four months earlier after leaving Norwegian outfit Avaldsnes.

Despite her fitness worries, she made Cameroon's squad for the 2019 Women's World Cup but did not feature in any matches as the Indomitable Lionesses reached the Round of 16 in France.

Goal has learnt that the former Rosengard, Dalian Quanjian, Avaldsness and Malaga striker has decided to temporarily hang up her boots, with high hopes of bouncing back in the near future.

On Tuesday, Enganamouit made the low-key announcement as she marked her 28th birthday, having struggled to recover from a recurring anterior cruciate ligament injury.

In club football, Enganamouit is most well known for her time with Eskilstuna United DFF, for whom she made 41 appearances and scored 24 goals for the Swedish Damallsvenskan side in 2015.

Before arriving in Sweden, she shot into prominence on the global stage when she scored the fastest goal in women's football history in 2012, after just two seconds, for Spartak Subotica in Serbia.

On the international stage, the Lorema of Yaounde product starred in Cameroon's first Olympic Games in London 2012 and then their first Women's World Cup three years later in Canada.

She scored a hat-trick in the 6-0 group win over Ecuador to become the first African to score three in a Women's World Cup match during the 2015 edition, and capped that year by winning the Damallsvenskan top scorer award with 18 goals.

The African women's football legend also won the 2015 African Women's Player of the Year prize, and was nominated for the BBC Women's Footballer of the Year award in 2016.

Earlystar698:
they said African American service chief and not Secretary of State

Ishilove:
I think I will pass. The mind quails

omowolewa:
Let us hear from Aregbe first

LIES, LIES AND LIES! AREGBESOLA DISMISSES STORY OF RIFT WITH TINUBU...

The Minister of Interior, Ogbeni Rauf Aregbesola has debunked claims of nursing presidential ambition in 2023 and also dismissed claims that he is at war with his leader and mentor, Asiwaju Bola Ahmed Tinubu.

He spoke in Abuja this afternoon against the background of the lies peddled by an online publication. Ogbeni Aregbesola said his loyalty to Asiwaju is not only total, his commitment to whatever the leader wants is unwavering.

The minister revealed that he knew where the story was coming from and the identity of those sponsoring it. 'Rift with Asiwaju Tinubu? Nothing can be more impossible! Nothing can be farther from the truth. I remain committed to my mentor,' Aregbesola said,

adding that "the group our detractors claim has been banned is the most committed to the realization of Asiwaju's ambition."

The minister continued: "They even said I have presidential ambition. False!" Aregbesola reiterated that the APC is one,

adding that the party is like an oak tree that keeps growing. He said his focus and goal is to execute his ministerial duties as directed by President Muhammadu Buhari.

In conclusion, he urged his supporters to ignore the publication in its entirety and refrain from being distracted from the goal of building a strong APC as well as a united Nigeria.

NO COLD WAR BETWEEN ASIWAJU TINUBU, OGBENI AREGBESOLA

2. Today, the Governor’s Advisory Council, the highest decision-making body within the All Progressives Congress in Lagos State, passed a resolution calling for the disbandment of all factional groups within the party.

3. This was to promote discipline, harmony and cohesion and engender party supremacy. The APC is one united political family in Lagos.

4. Our attention has, however, been drawn to a report in an online newspaper alleging that the GAC’s appropriate and candid resolution had worsened a phantom cold war between Asiwaju Bola Tinubu and the Minister of Interior, Ogbeni Rauf Aregbesola.

5. This is a figment of the imagination of the news organization that authored the report. Asiwaju Tinubu remains Ogbeni Aregbesola’s leader. The former governor of Osun State has been unswervingly & wholly committed to the progressive ideology of the Tinubu political family.

6. There is no war, cold or hot, between them. There has never been and there will never be. Asiwaju believes in him and he believes in the APC leader.

7. Our political family remains strong. And we are staying focused in our commitment to building and maintaining a cohesive political party.

8. The GAC is a very strong body within the APC leadership structure in Lagos. Its resolution is not targeted at any particular individual or collection of individuals.

9. The resolution was to restate the often-stated position that the only group known to us is APC and not any of the factional groups. It was to renew the commitment to APC and its unity.

10. Ogbeni Aregbesola is a strong member of the political family. The GAC position does not imply any division within the group. The resolution is well-meaning and should not be misinterpreted.

11. To do so impulsively as the authors of the report has done is to take the frontier of reporting away from facts to the realm of groundless speculations.

Ishilove:
Something that can trace your IP

I think. Ayam not sure.