• Right here is an abridged version (yet richly enlightening) from one of the write-ups i composed worrying this subject.

    Movie exhibition started to flourish throughout the Colonial age, with Glover Memorial Hall playing host to a variety of remarkable films seen by "prospective Nigerians", in August 1903. However, the non-availability of proper records mirroring the title of the launching movie showed has developed a lapse in the precedent stock. Regardless of the lacuna, the way had been paved for the exhibit of even more foreign movies at the Hall and other marked places.

    The emotionally traumatizing "Master - Servant" relationship, apparent in the constant attacks, batteries, intimidation, segregation, victimization, held out by the Colonial masters on the colonized, with darkened clouds of bitterness, vengeance, thirst for freedom, paving the way to splattering drops of such thoughts, naturally projected through the colonized periodic in-subordinate activities, started to spread out amongst the blacks. The British knew they needed to thread with care if they still wanted to play "god" in their lives when movies such as Tales of Manhattan, Trailer horn, Tarzan collection started to stimulate a transformation in the hearts of Blacks around the world.

    Familiar with the fatal power of insurgency which might be let loose through the Film medium, the British out of fear for their lives and possible loss of the Queen's sovereignty took the bull by the horn, and swiftly produced a Colonial Film Censors Board (FCB) in 1933 to censor and categorize films prior to they were launched for visual usage by the public. Following the establishment of the board, Films such as "The primitive, primitive man, Dixie, Buffalo Bill, The Keys of the Kingdom, Sleepy Town Girl were tagged 'appropriate' to be viewed, while Dr Jekyll and Mr Hyde, Clive of India, The Isle of Forgotten Sins, House of Frankenstein were thought about unsuitable for seeing.

    The Censor's body went through an improvement procedure into the Federal Board of Film Censors (FBFC) from the aforementioned, and the laws from which the changed body obtained its powers varied from the 1948 Cinematograph Laws of Nigeria, the Cinematograph Laws of 1963, to the 1963/64 Cinematograph Law and Regulations. Today National Film and Video Censors Board came into presence by virtue of decree, now Act 85 of 1993. The arrival of Nigeria's Independence (1960) and the Republican status (1963), proclaimed the dawn of a brand-new age in all sectors.

    "The Yoruba Travelling Theatre Group" of the 60's and 70's can be referred to as the "Fountain Head" of motion picture productions in Nigeria. The veterans with fantastic Theatrical abilities and piece de resistances took their works beyond the stage, and dove into the sea of film manufacturings utilizing the Celluloid format. Remarkable movie makers on the Roll call of Honour throughout the Celluloid boom age of the 70's consist of Ola Balogun, Eddie Ugbomah, late Herbert Ogunde, Adeyemi Afolayan a.k.a Ade Love (father of Kunle Afolayan of the Irapada fame), Ladi Ladebo, Moses Adejumo, Adebayo Salami and Afolabi Adesanya.

    The list of reported films produced during the 70's age and going beyond rather into the 80's is merely impressive and goes to show that the Movie Industry has actually been around much longer, contrary to the '1992 belief disorder' most have been injected with. Such works include Kongi Harvest (1971), Alpha (1972), Bull Frog in the Sun (1974), Amadi (1975), Ajani Ogun (1975), Muzik Man (1976), Bisi, Daughter of the River (1977), Ija Ominira (1978), Aiye (1979), Kadara (1980), Jaiyesimi (1980) Efunsetan Aniwura (1981), Cry Freedom (1981), Ija Orogun (1982) Owo L'Agba (1982).

    The cost of producing films in that age was economically back breaking, with Nigerians further annoying the efforts of the filmmakers by choosing to view films of occidental and oriental beginning at the Cinemas and Exhibition centres, as opposed to the locally produced ones. The Cowboy films were thrilling to enjoy while the Chinese movies paraded among others, the Legendary "Bruce Lee" in (Lo Wei's, The Big Boss (1971), Fist of Fury (1972), Way of the Dragon (1972), Enter the Dragon (1973), The Game of Death launched in 1978) who exhibited Martial Arts dexterity, obviously a combating technique alien, yet remarkable to us at that time.

    Visit Giuseppe's site by going here - http://wiki.8bitklubben.dk/index.php/Linda_Ikeji_Blog. Indian movies in the late 60's and well into the 70's paraded distinguished names like Rajesh Khanna, Dharmendra Singh Deol, Mumtaz, Amitabh Bachchan, Anil kapoor, Hema Malini, and produced hits such as "Bobby", "Sholay", "Kabhi Kabhi", "Dharamveer", "Amar Akbar Anthony". Their stars displayed excellent acting abilities against the backdrop of love styles, and ear pleasing tracks coupled with synchronized dance steps, produced with noise and special effects, though matchless with exactly what obtains today purchased over the indigenes loyalty for their films.

    Thus, the Movie Founding Fathers started to deal with the challenges of recovering their financial investments, which gradually became practically an impossible job, an anthem they continuously rendered much to the discomfort of prospective financers. They counted their losses and licked their injuries sustained in the monetary struggle with every movie they released. The deluge of VCRS in the 80's created a paradigm change from the Cine to the VHS format, which made manufacturings much easier, quicker and cheaper by a milestone in contrast to the previous. Cinema residences and other Exhibition centres were lastly closed down and the Baton of Cine film making slipped from the hands of the Founding founders as they tried to turn over the film baton to the next generation within the stipulated Baton Exchange Zone. When the flow of the Film Relay cycle was broken, the dream of becoming a re-nowned Movie Industry was smashed.

    House Videos were produced which served as an option to the cinemas, and the name normally comes from the truth that you might seat within the comfort of your house and watch the films produced in the VHS format via your VCR. Movie Makers capitalized on the gains of the Home Video principle provided, and started producing films making use of the Yoruba language as the means of communication. Nevertheless, the year "1992" has overtime been widely accepted as the causing duration of Home Video manufacturings, with Ken Nnebue's "Living in Bondage" said to be the first motion picture created industrial purposes making use of the Igbo/English language.

    The motion picture no question struck the "Movie Well", which invoked a mass exodus of people from other realms into the art of movie manufacturings, having seen the chances that lay in the Gold mine region. Thus, did the Home Video Industry tagged "Nollywood" emerge.

    The fact that "Living in Bondage" was ascribed with the honor of being the first motion picture made for industrial functions and the one upon which the Home Video transformation was presumably established on, culminating into Nollywood, didn't go unchallenged. Late Alade Aromire before his death, ignited a questionable fire, firmly insisting that his and not Ken's film should have been consulted such an honor. When confronted by a press reporter on the concern he 'd mentioned that Ken had produced over 40 Yoruba movies, and had actually begun with "Aje N'yami".

    There had actually been a flourishing film sector prior to he came on board, so ken could not have actually begun it.
    The confusion comes from the Censors board of the day, whose hands were cut off by the Law it drew its powers from, (1963/64 Cinematograph Law and Regulations). The powers conferred on it to regulate the Industry did not encompass "Home Video". The present National Film and Video Censors Board (NFVCB) did not exist till 1994. On this raging problem, Late Alade Armoire produced motion pictures such as Ekun, Omije (pts 1-3), Obirin Asiko, Ayo ni o, Adun, Orire which were launched to the general public in between 1985 and 1991.

    Ken Nnebue still insists that his film "Living in Bondage" was the first Home Video movie made for industrial purposes. His stand on the matter is rather shaky, having prior to the production of Living in Bondage sponsored industrial motion pictures in Yoruba language such as Ina Ote, Aje N'iyami and others. Let's not forget the barrage of Yoruba TV dramatization that were mass produced on VHS tapes and sold to the general public prior to 1992. One cannot fail to discuss the legendary Eddie Ugbomah's movie "The Great Attempt" (1989), which would have made history as the 1st Nigerian cine movie in the video tape format to have actually been censored by the defunct Federal Board of Film Censors (FBFC) based on a "unique concession" gave him formally by the permanent secretary of the Federal Ministry of Information and Culture at that time.

    Sadly the strong components projected in the motion picture were considered improper for public viewing by the Board, hence the film was never launched. Tunde Alabi -Hundeyin's "Iyawo Alhaji" is formally on record as the first commercial (direct to exhibition hall) video movie to be censored and classified by the NFVCB in 1994 at the National Theatre, (Cinema Hall) Iganmu. In spite of the questionable fire raised, the international publicity offered to "Living in Bondage" for many years inevitably imputed the movie into our memory banks as the flag bearer of the Home Video revolution of all times. Individuals, regardless of Nationality, gender, tribe, and race are faced with challenges every day. Some of these troubles are of a global nature, while others are strange to different societies. Movies provide people the chance of informing their own tales, complimentary from alien disturbance.

    Nigerian motion picture producers leveraged on this and produced films projecting our lifestyle, culture, local fashion, burning concerns, troubles afflicting our society, regardless of the choking smell of tribalism viewed in all sectors. Movies were made for the seeing satisfaction of Nigerians initially, (prior to the mass exportation fad), with messages to inspire, motivate, reprove, and correct anomalies particularly in the Political, Social systems, to eschew physical violence and all forms of evil.

    The tactical use of the English language as the communication tool, marketing approaches and execution through the use of trailers via T. V, Posters (now banned in Lagos State), tape-recorded a boost in sales, and broadened the viewership base beyond the coasts of our Nation to nations such as Ghana, Togo, South Africa, Kenya, U.S.An and even the U.K. The films churned out at a worrying rate were technically lacking in essential locations thought about as germane in the production procedure.

    The popular "shoe string spending plan" tag has become synonymous with the Industry's antecedent of making movies on extremely low budgets compared to various other film bodies in other countries, ($10- $15,000 at first), however currently extends to $25,000, with a tiny number of manufacturers further stretching the relatively monetary limitation to N 7,10,20 Million and more. The movies were and are still shot dominantly between 10-12 days, by means of Beta cam (now HDV cameras), were produced in the VHS format (now VCD & DVD), duplicated in mass and offered by the Marketers who also functioned as Distributors.

    Over a thousand films were being produced yearly by producers and utterly surprised by the spectacular statistical information of film manufacturings, the International motion picture limelight was shone on the Multi Million naira Industry "Nollywood". The Industry's net worth as at 2008 stood between an approximated $250 and $300 Million dollars. It is worthy of note that a Global cinema study, conducted in 2006 by the UNESCO Institute for Statistics (UIS) and launched sometime in May 2009, rated Nollywood as the 2nd biggest producing film body in the world behind Bollywood and ahead of Hollywood based on the numerical data of the motion pictures produced.

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