Here is an abridged adaptation (yet abundantly enlightening) from one of the online writing i wrote apropos this accountable matter.
Film exhibition began to advance during the Colonial era, with Glover Memorial Anteroom arena host to a ambit of memorable films beheld by “potential Nigerians”, in August 1903. However, the non-availability of able annal absorption the appellation of the admission blur apparent has created a blooper in the anterior stock. Notwithstanding the lacuna, the way had been paved for the exhibition of added adopted films at the Anteroom and added appointed venues.
The emotionally traumatizing “Master – Servant” relationship, axiomatic in the connected assaults, batteries, intimidation, segregation, victimization, agitated out by the Colonial masters on the colonized, with blurred clouds of resentment, vengeance, appetite for freedom, giving way to splattering drops of such thoughts, aimlessly projected through the colonized alternate in-subordinate actions, began to advance amidst the blacks. The British knew they had to cilia with attention if they still capital to play “god” in their lives if films such as Tales of Manhattan, Trailer horn, Tarzan alternation began to activity up a anarchy in the hearts of Blacks above the globe.
Aware of the baleful ability of affront which could be unleashed through the Blur medium, the British out of abhorrence for their lives and accessible accident of the Queen’s ascendancy took the balderdash by the horn, and apace created a Colonial Blur Censors Lath (FCB) in 1933 to abridge and allocate films afore they were appear for beheld afire by the public. Following the enactment of the board, Films such as “The primitive, archaic man, Dixie, Buffalo Bill, The Keys of the Kingdom, Sleepy Town Girl were tagged ‘suitable’ to be watched, while Dr Jekyll and Mr Hyde, Clive of India, The Isle of Forgotten Sins, House of Frankenstein were advised clashing for viewing.
The Censor’s physique underwent a transformation action into the Federal Lath of Blur Censors (FBFC) from the aforementioned, and the laws from which the adapted physique acquired its admiral ranged from the 1948 Cinematograph Laws of Nigeria, the Cinematograph Laws of 1963, to the 1963/64 Cinematograph Law and Regulations. The present National Blur and Video Censors Lath came into actuality by advantage of decree, now Act 85 of 1993. The appearance of Nigeria’s Independence (1960) and the Republican cachet (1963), heralded the aurora of a new era in all sectors.
“The Yoruba Travelling Theatre Group” of the 60’s and 70’s can be referred to as the “Fountain Head” of cine productions in Nigeria. The veterans with abundant Theatrical abilities and abundant performances took their works above the stage, and affable into the sea of blur productions application the Celluloid format. Notable blur makers on the Roll alarm of Honour during the Celluloid bang era of the 70’s cover Ola Balogun, Eddie Ugbomah, backward Herbert Ogunde, Adeyemi Afolayan a.k.a Ade Adulation (father of Kunle Afolayan of the Irapada fame), Ladi Ladebo, Moses Adejumo, Adebayo Salami and Afolabi Adesanya.
The account of accurate films produced during the 70’s era and acute somewhat into the 80’s is artlessly amazing and goes to appearance that the Cine Industry has been about abundant longer, adverse to the ‘1992 acceptance syndrome’ a lot of accept been injected with. Such works cover Kongi Harvest (1971), Alpha (1972), Balderdash 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 Abandon (1981),Ija Orogun (1982) Owo L’Agba (1982)
The amount of bearing films in that era was financially aback breaking, with Nigerians added arresting the efforts of the filmmakers by opting to watch films of occidental and oriental agent at the Cinemas and Exhibition centres, rather than the locally produced ones. The Cowboy films were animating to watch while the Chinese films paraded amidst others, the Allegorical “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 Afterlife appear in 1978) who apparent Martial Arts dexterity, acutely a angry address alien, yet alluring to us at that time.
Indian films in the backward 60’s and able-bodied into the 70’s paraded acclaimed 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 abundant acting abilities adjoin the accomplishments of adulation themes, and ear adorable songs accompanying with synchronized ball steps, produced with complete and appropriate effects, admitting incomparable with what obtains today bought over the indigenes adherence for their movies.
Thus, the Cine Founding Fathers began to face the challenges of recouping their investments, which gradually became around an absurd task, an canticle they consistently rendered abundant to the ache of abeyant financers. They counted their losses and baffled their wounds abiding in the banking action with every blur they released. The deluge of VCRS in the 80’s created a archetype about-face from the Cine to the VHS format, which fabricated productions easier, faster and cheaper by a anniversary in allegory to the former. Cinema houses and added Exhibition centres were assuredly shut down and the Billy of Cine blur authoritative slipped from the easily of the Founding founders as they attempted to duke over the cine billy to the next bearing aural the assured Billy Exchange Zone. The dream of acceptable a re-nowned Cine Industry was burst if the breeze of the Blur Relay aeon was broken.
Home Videos were produced which served as an another to the cinemas, and the name by itself stems from the actuality that you could bench aural the abundance of your home and watch the movies produced in the VHS architecture via your VCR. Blur Makers capitalized on the assets of the Home Video abstraction offered, and began bearing movies application the Yoruba accent as the agency of communication. However, the year “1992” has overtime been broadly accustomed as the triggering aeon of Home Video productions, with Ken Nnebue’s “Living in Bondage” said to be the aboriginal cine fabricated for bartering purposes application the Igbo/English language.
The cine no agnosticism addled the “Movie Well”, which invoked a accumulation departure of humans from added spheres into the art of cine productions, accepting apparent the opportunities that lay in the Gold abundance region. Thus, did the Home Video Industry tagged “Nollywood” emerge.
The actuality that “Living in Bondage” was ascribed with the honour of getting the aboriginal cine fabricated for bartering purposes and the one aloft which the Home Video anarchy was allegedly founded on, culminating into Nollywood, didn’t go unchallenged. Backward Alade Aromire afore his death, afire a arguable fire, insisting that his and not Ken’s cine care to accept been conferred with such an honour. If confronted by a anchorman on the affair he’d declared that Ken had produced over 40 Yoruba movies, and had started with “Aje N’yami”.
There had been a blooming cine industry afore he came on board, so ken couldn’t accept started it.
The abashing stems from the Censors lath of the day, whose easily were amputated by the Law it drew its admiral from, (1963/64 Cinematograph Law and Regulations). The admiral conferred on it to adapt the Industry did not extend to “Home Video”. The present National Blur and Video Censors Lath (NFVCB) did not abide till 1994. On this angry issue, Backward Alade Armoire produced movies such as Ekun, Omije (pts 1-3), Obirin Asiko, Ayo ni o, Adun, Orire which were appear to the accessible amid 1985 and 1991.
Ken Nnebue still insists that his cine “Living in Bondage” was the aboriginal Home Video cine fabricated for bartering purposes. His angle on the amount is rather shaky, accepting above-mentioned to the assembly of Living in Bondage sponsored bartering movies in Yoruba accent such as Ina Ote, Aje N’iyami and others. Let’s not overlook the battery of Yoruba TV dramas that were accumulation produced on VHS tapes and awash to the accessible afore 1992. One can’t abort to acknowledgment the allegorical Eddie Ugbomah’s cine “The Abundant Attempt” (1989), which would accept fabricated history as the 1st Nigerian cine cine in the video band architecture to accept been censored by the asleep Federal Lath of Blur Censors (FBFC) based on a “special concession” accepted him clearly by the abiding secretary of the Federal Ministry of Information and Ability at that time.
Unfortunately the able capacity projected in the cine were advised clashing for accessible examination by the Board, appropriately the cine was never released. Tunde Alabi -Hundeyin’s “Iyawo Alhaji” is clearly on almanac as the aboriginal bartering (direct to exhibition hall) video blur to be censored and classified by the NFVCB in 1994 at the National Theatre, (Cinema Hall) Iganmu. Despite the arguable blaze raised, the all-around publicity accustomed to “Living in Bondage” over the years consistently accepted the cine into our anamnesis banks as the banderole agent of the Home Video anarchy of all times. People, irrespective of Nationality, race, gender, and association are confronted with challenges on a circadian basis. Some of these problems are of a all-around nature, while others are appropriate to assorted societies. Movies action humans the befalling of cogent their own stories, chargeless from conflicting interference.
Nigerian cine producers leveraged on this and produced movies bulging our lifestyle, culture, bounded fashion, afire issues, problems afflictive our society, irrespective of the asthmatic fetor of tribalism perceived in all sectors. Movies were fabricated for the examination amusement of Nigerians initially, (before the accumulation exportation craze), with letters to inspire, motivate, reprove, and actual anomalies abnormally in the Political, Social systems, to abandon abandon and all forms of evil.
The appropriate use of the English accent as the advice tool, business strategies and beheading through the use of trailers via T.V, Posters (now banned in Lagos State), recorded a addition in sales, and broadcast the viewership abject above the shores of our Nation to countries such as Ghana, Togo, South Africa, Kenya, U.S.A and even the U.K.. Unfortunately, the movies aerated out at an alarming amount were technically amiss in key areas advised as germane in the assembly process.
The accepted “shoe cord budget” tag has become alike with the Industry’s anterior of authoritative movies on acutely low budgets compared to added cine bodies in added countries, ($10- $15,000 initially), but currently stretches to $25,000, with a diminutive amount of producers added addition the acutely banking absolute to N 7,10,20 Million and more. The movies were and are still attempt dominantly amid 10-12 days, via Beta cam (now HDV cameras), were produced in the VHS architecture (now VCD & DVD), replicated in accumulation and awash by the Marketers who aswell angled as Distributors.
Over a thousand movies were getting aerated out annual by producers and absolutely afraid by the amazing statistical abstracts of cine productions, the International cine spotlight was shone on the Multi Million naira Industry “Nollywood”. The Industry’s net account as at 2008 stood amid an estimated $250 and $300 Million dollars. It is aces of agenda that a All-around cinema survey, conducted in 2006 by the UNESCO Institute for Statistics (UIS) and appear ancient in May 2009, ranked Nollywood as the additional better bearing cine physique in the apple abaft Bollywood and advanced of Hollywood based on the after abstracts of the movies produced.