Constructing the Televideofilm: Corporatization, Genrefication, and the Blurring Boundaries of Nigerian Media

  • Noah Tsika


Tsika’s chapter examines several Nollywood genres that have helped to generate and continue to depend upon intermedial expansiveness. Tsika notes that, as a popular industry, Nollywood is invested not in the auteurist upholding of an exceptional art object but in the manufacturing of “flow,” of a sense of stylistic and ideological continuity among thousands of films, which recalls some of the central tenets of television studies. Thus, Tsika argues that Nollywood is part of an expansive intermedial story, by which Nollywood joins other popular African industries in developing across previously sacrosanct, medium-specific borders. Tsika proposes that in today’s Nigeria, the concept of “genres in transition” entails the migration of generic forms across media and platforms rather than their fundamental transformation.


Nollywood African cinema Transmediality Intermediality Convergence 


  1. Adejunmobi, Moradewun. 2015. Neoliberal Rationalities in Old and New Nollywood. African Studies Review 58 (3): 31–53.Google Scholar
  2. Adesokan, Akin. 2011. Postcolonial Artists and Global Aesthetics. Bloomington: Indiana University Press.Google Scholar
  3. ———. 2014. Nollywood: Outline of a Trans-ethnic Practice. Black Camera 5 (2): 116–133.Google Scholar
  4. Bennett, James, and Niki Strange (eds.). 2011. Television as Digital Media. Durham and London: Duke University Press.Google Scholar
  5. Brown, Matthew H. 2008. “Osuofia Don Enter Discourse”: Global Nollywood and African Identity Politics. Ijota: Ibadan Journal of Theatre Arts 2 (4): 56–72.Google Scholar
  6. Comaroff, Jean, and John Comaroff. 2012. Theory from the South: Or How Euro-America is Evolving Toward Africa. London: Paradigm Publishers.Google Scholar
  7. Disbook #5 (press release). 2014. StarTimes: Celebrating Digital Advancement in Africa, November. Retrieved on March 3, 2017 from
  8. Haynes, Jonathan. 2016. Nollywood: The Creation of Nigerian Film Genres. Chicago and London: University of Chicago Press.CrossRefGoogle Scholar
  9. Jedlowski, Alessandro. 2012. Small Screen Cinema: Informality and Remediation in Nollywood. Television & New Media 13 (5): 431–446.CrossRefGoogle Scholar
  10. ———. 2016. Studying Media “from” the South: African Media Studies and Global Perspectives. Black Camera 7 (2): 174–193.Google Scholar
  11. McCall, John C. 2012. The Capital Gap: Nollywood and the Limits of Informal Trade. Journal of African Cinemas 4 (1): 9–23.CrossRefGoogle Scholar
  12. Miller, Jade L. 2016. Nollywood Central. London: Palgrave Macmillan.CrossRefGoogle Scholar
  13. Okome, Onookome. 2007. Nollywood: Spectatorship, Audience, and the Sites of Consumption. Postcolonial Text 3 (2): 1–21.Google Scholar
  14. Simonson, Mary. 2013. Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century. Oxford and London: Oxford University Press.CrossRefGoogle Scholar
  15. Tsika, Noah. 2015. Nollywood Stars: Media and Migration in West Africa and the Diaspora. Bloomington: Indiana University Press.Google Scholar
  16. Ugor, Paul. 2011. Failed States and the Militarization of Youth in Sub-Saharan Africa. In Narratives of Citizenship: Indigenous and Diasporic Peoples Unsettle the Nation-State, ed. Aloys N.M. Fleischmann, Nancy van Styvendale, and Cody McCarroll, 81–106. Edmonton: The University of Alberta Press.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Noah Tsika
    • 1
  1. 1.Queens College, University of New YorkNew York CityUSA

Personalised recommendations