Kunle Afolayan, dir.October1. 2014. 1hr 55minutes. English (Primarily), Nigerian Pidgin, Igbo Yoruba and Hausa (and with Yoruba/English Subtitles). Nigeria. GMEDIA. N500 ($2).

Introduction

Recent studies in Nollywood films have taken a new dimension and have concentrated more on specific films made by filmmakers, who have taken Nollywood seriously, with a sense of high-handedness. Connor Ryan in his recent investigations on the Nigerian cinema opined that for more than two twenty two years of astronomical rise Nollywood, which essential refers to the Nigerian film industry “has garnered significant scholarly attention” Ryan (2012,p.180). Although, it is important to note here quickly that the emergence of Nollywood studies is indebted to many seminal surveys, which include Jonathan Haynes’s Nigerian Video Films (2000), Foluke Ogunleye’s African Video Film Today(2003) Onokome Okome’s Global Nollywood: The Transnational Dimensions of an African Video Film Industry (2013)and Mahir Saul and Ralph Austen’s Viewing African Cinema in the Twenty-First Century: Art Films and the Nollywood Video revolution (2010). What is urgently required in today’s scholarship are more researches that are focused on the great diversity among the various titles, which appear on movie stands for sale across Nigeria and indeed West Africa every year.

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*Tunde Onikoyi is a lecturer in the Department of Performing Arts, Kwara State  University, Malete, Nigeria.

^JCMRJournal of Communication and Media Research, Vol. 8, No. 1, Sp. 1, May 2016, 242 - 245