Linda Ikeji Wikipedia

From Kostume Kult Wikki
Revision as of 03:52, 20 June 2013 by LaurelBat (talk | contribs) (Created page with "Right here is an abridged variation (yet richly enlightening) from one of the short articles i composed concerning this topic.<br><br>Film exhibit started to flourish througho...")
(diff) ← Older revision | Latest revision (diff) | Newer revision → (diff)
Jump to navigation Jump to search

Right here is an abridged variation (yet richly enlightening) from one of the short articles i composed concerning this topic.

Film exhibit started to flourish throughout the Colonial period, with Glover Memorial Hall playing host to a variety of unforgettable movies viewed by "prospective Nigerians", in August 1903. However, the non-availability of correct records reflecting the title of the launching film displayed has produced a lapse in the precedent stock. Notwithstanding the lacuna, the means had actually been paved for the exhibit of more foreign movies at the Hall and other marked locations.

The emotionally distressing "Master - Servant" relationship, obvious in the constant attacks, batteries, intimidation, segregation, victimization, accomplished by the Colonial masters on the colonized, with darkened clouds of bitterness, vengeance, thirst for freedom, giving way to splattering drops of such thoughts, naturally projected through the colonized periodic in-subordinate actions, began to spread amongst the blacks. The British understood they needed to thread with care if they still desired 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.

Aware of the deadly power of insurgency which can be unleashed through the Film medium, the British from concern for their lives and possible loss of the Queen's sovereignty took the bull by the horn, and swiftly developed a Colonial Film Censors Board (FCB) in 1933 to censor and categorize films prior to they were released for visual usage by the public. Following the facility of the board, Films such as "The primitive, primitive man, Dixie, Buffalo Bill, The Keys of the Kingdom, Sleepy Town Girl were identified 'appropriate' to be watched, 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 a transformation process into the Federal Board of Film Censors (FBFC) from the previously mentioned, and the laws from which the transformed body derived its powers varied from the 1948 Cinematograph Laws of Nigeria, the Cinematograph Laws of 1963, to the 1963/64 Cinematograph Law and Regulations. The present National Film and Video Censors Board originated by virtue of decree, now Act 85 of 1993. The advent of Nigeria's Independence (1960) and the Republican condition (1963), heralded the dawn of a brand-new period in all sectors.

"The Yoruba Travelling Theatre Group" of the 60's and 70's can be described as the "Fountain Head" of motion picture productions in Nigeria. The veterans with great Great efficiencies and theatrical abilities took their works beyond the phase, and dove into the sea of film productions using the Celluloid format. Remarkable film makers on the Roll call of Honour during the Celluloid boom age of the 70's include 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 movies produced during the 70's age and going beyond rather into the 80's is simply amazing and goes to reveal that the Movie Industry has actually been around much longer, contrary to the '1992 belief disorder' most have actually 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 expense of producing films in that period was economically back breaking, with Nigerians further irritating the efforts of the filmmakers by choosing to view movies of oriental and occidental origin at the Cinemas and Exhibition centres, rather than the locally produced ones. The Cowboy movies were exciting to enjoy while the Chinese films paraded amongst 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 released in 1978) who showed Martial Arts dexterity, obviously a combating method alien, yet remarkable to us at that time.

Indian films in the late 60's and well into the 70's paraded popular names like Rajesh Khanna, Dharmendra Singh Deol, Mumtaz, Amitabh Bachchan, Anil kapoor, Hema Malini, and produced favorites such as "Bobby", "Sholay", "Kabhi Kabhi", "Dharamveer", "Amar Akbar Anthony". Their stars displayed excellent acting abilities against the backdrop of love themes, and ear pleasing tunes coupled with integrated dance steps, produced with sound and unique impacts, though incomparable with exactly what obtains today purchased over the indigenes commitment for their movies.

Thus, the Movie Founding Fathers started to deal with the obstacles of redeeming their investments, which slowly became virtually an impossible job, an anthem they regularly rendered much to the pain of possible financers. They counted their losses and licked their injuries sustained in the financial battle with every movie they launched. The deluge of VCRS in the 80's developed a paradigm change from the Cine to the VHS format, which made manufacturings much easier, quicker and less costly by a turning point in contrast to the former. Cinema homes and other Exhibition centres were lastly shut down and the Baton of Cine movie 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. The imagine becoming a re-nowned Movie Industry was shattered when the flow of the Film Relay cycle was broken.

House Videos were produced which worked as an alternative to the cinemas, and the name naturally comes from the reality that you could seat within the convenience of your home and enjoy the films produced in the VHS format through your VCR. Film Makers profited from the gains of the Home Video principle provided, and began producing motion pictures using the Yoruba language as the methods of communication. The year "1992" has overtime been extensively accepted as the causing duration of Home Video productions, with Ken Nnebue's "Living in Bondage" said to be the first motion picture made for commercial functions using the Igbo/English language.

The motion picture no question struck the "Movie Well", which invoked a mass exodus of people from various other realms into the art of movie manufacturings, having seen the opportunities that lay in the Gold mine area. 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 based on, culminating into Nollywood, didn't go unchallenged. Late Alade Aromire before his death, ignited a controversial fire, firmly insisting that his and not Ken's film should have actually been consulted such an honor. When challenged by a press reporter on the problem he had actually stated that Ken had produced over 40 Yoruba films, and had begun with "Aje N'yami".

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

Ken Nnebue still firmly insists that his motion picture "Living in Bondage" was the first Home Video motion picture made for industrial purposes. His stand on the matter is rather unstable, having prior to the manufacturing of Living in Bondage recruited industrial movies in Yoruba language such as Ina Ote, Aje N'iyami and others. Let's not forget the barrage of Yoruba TELEVISION dramas that were mass produced on VHS tapes and sold to the public prior to 1992. One can't fail to point out the fabulous Eddie Ugbomah's film "The Great Attempt" (1989), which would have made history as the 1st Nigerian cine motion picture in the video tape format to have actually been censored by the defunct Federal Board of Film Censors (FBFC) based upon a "special concession" provided him officially by the long-lasting secretary of the Federal Ministry of Information and Culture at that time.

The strong contents projected in the motion picture were considered unfit for public viewing by the Board, hence the motion picture was never ever released. Despite the controversial fire raised, the worldwide publicity given to "Living in Bondage" over the years usually imputed the motion picture into our memory banks as the flag bearer of the Home Video transformation of all times. Motion pictures offer people the opportunity of telling their own stories, free of cost from unusual disturbance.

Nigerian film manufacturers leveraged on this and produced movies projecting our lifestyle, culture, regional style, burning problems, problems afflicting our society, irrespective of the choking odor of tribalism viewed in all sectors. Motion pictures were produced the viewing enjoyment of Nigerians initially, (prior to the mass exportation trend), with messages to motivate, motivate, reprove, and right abnormalities particularly in the Political, Social systems, to eschew violence and all kinds of evil.

Checkout this site for more http://www.flokib.at/mediawiki/index.php?title=Benutzer:ElliottLu. The calculated use of the English language as the interaction device, advertising methods and execution through using trailers through T. V, Posters (now prohibited in Lagos State), taped a boost in sales, and broadened the viewership base past the shores of our Nation to countries such as Ghana, Togo, South Africa, Kenya, U.S.An and even the U.K. Regrettably, the films churned out at a worrying rate were technically lacking in essential areas thought about as germane in the manufacturing process.

The popular "shoe string spending plan" tag has actually become synonymous with the Industry's antecedent of making movies on incredibly reduced budget plans compared with other film bodies in other nations, ($10- $15,000 initially), however presently stretches to $25,000, with a microscopic variety of manufacturers further extending the apparently monetary limit to N 7,10,20 Million and more. The movies were and are still shot dominantly between 10-12 days, via Beta cam (now HDV cameras), were produced in the VHS format (now VCD & DVD), reproduced in mass and sold by the Marketers who also increased as Distributors.

Over a thousand motion pictures were being created yearly by producers and utterly astonished by the staggering statistical data of movie productions, 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 estimated $250 and $300 Million dollars. It is worthwhile of note that a Global cinema survey, carried out in 2006 by the UNESCO Institute for Statistics (UIS) and released at some point in May 2009, rated Nollywood as the second biggest producing movie body on the planet behind Bollywood and ahead of Hollywood based on the numerical data of the motion pictures produced.