By Noah A. Tsika
ISBN-10: 0253015715
ISBN-13: 9780253015716
In this accomplished research of Nollywood stardom all over the world, Noah A. Tsika explores how the industry’s most sensible on-screen skills have helped Nollywood to extend past West Africa and into the diaspora to develop into one of many globe's so much prolific and numerous media manufacturers. wearing VHS tapes and DVDs onto airplanes and publicizing new equipment of movie distribution, the celebs are lively brokers within the worldwide move of Nollywood movie. From Omotola Jalade-Ekeinde’s cameo function on VH1’s renowned seriesHit the Floorto Oge Okoye’s startling impersonation of woman Gaga, this ebook follows Nollywood stars from Lagos to London, Ouagadougou, Cannes, Paris, Porto-Novo, Sekondi-Takoradi, Dakar, Accra, Atlanta, Houston, big apple, and l. a.. Tsika tracks their efforts to combine into a number of leisure cultures, yet by no means to the purpose of effacing their African roots.
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Extra info for Nollywood Stars: Media and Migration in West Africa and the Diaspora
Sample text
13 The history of Nollywood’s star system offers an important reminder that a recent, hybridized example like Doctor Bello sug gests both stasis and change, both “old” and “new” Nollywood. Doctor Bello’s diverse funding sources might recall Countdown at Kusini—and Abulu’s use of 35-mm film might represent a perversion of some of Nollywood’s foun dational, format-specific mandates—but its complex use of Nigerian star images occasions the kind of A frican visibility that even the likes of Ossie Davis and Ruby Dee could not possibly have eclipsed.
It is hardly paradoxical, then, to look at antiessentialism against the backdrop of ethnic identity, as I do in this book. In fact, as Akindele’s star image reminds us, it is often cultural specificity that provides a springboard for the free play of identity. ”27 This complex double structure—this tension between obvi ousness and ambiguity—provides a kaleidoscopic yet rigorous lens through which to examine Nollywood stardom. Another example of an ethnic particularity leading to the perceived lim itlessness of a Nollywood star persona is that of Igbo widowhood, which by tradition requires the shaving of the widow’s head.
But stars are equally com mitted to communicating their differing understandings of transnationalism through the maintenance of a whole host of personae—through the execu tion of a ffective strategies that do not necessarily depend upon literal trans national travel. From Oge Okoye’s widely publicized interest in securing dual citizenship for her children to Omotola Jalade-Ekeinde’s appreciation for “homey” Ghanaian recording studios (as articulated on her African real ity television series Omotola: The Real Me), Nollywood stars constantly and consciously employ their own understandings of transnationalism in ways that further define their polysemous star images.
Nollywood Stars: Media and Migration in West Africa and the Diaspora by Noah A. Tsika
by Charles
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