Living in Bondage was not the first video film released in Nigeria. After the collapse of the local celluloid film industry in the mid-1980s, a number of video films were produced, particularly in Yoruba. Nnebue’s film, however, was the first to achieve widespread commercial success and it marked the beginning of what would later become the Nollywood video industry. See Jonathan Haynes, ed., Nigerian Video Films (Athens, OH: Ohio University Press, 2000).
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UNESCO Institute for Statistics (UIS), Analysis of the UIS International Survey on Feature Film Statistics (Montreal: UIS, 2009), accessed April 8, 2013, www.uis.unesco.org. The term Nollywood was introduced ten years after the beginning of the video phenomenon by a New York Times article. It was initially rejected but local fans and media gradually adopted it. It is often used to refer to the entire Nigerian video phenomenon but many critics now prefer to limit its use. They therefore only use the term to refer to Nigerian videos in English or pidgin (creolized English) that are produced in southern Nigeria and differentiate them from the local language production that takes place in other parts of Nigeria. See Norimitsu Onishi, “Step Aside, L.A. and Bombay, for Nollywood,” New York Times, September 16, 2002.
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and also Toby Miller, Nitin Govill, John McMurria, and Richard Maxwell, Global Hollywood (London: British Film Institute, 2001)
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and Tejaswinti Ganti, Producing Bollywood. Inside the Contemporary Hindi Film Industry (Durham, NC: Duke University Press, 2012).
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Here, I am implicitly referring to Dipesh Chakrabarty’s work and to the range of processes that it has helped to identify and interpret. Dipesh Chakrabarty, Provincializing Europe: Postcolonial Thought and Historical Difference (Princeton, NJ: Princeton University Press, 2000).
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