This article examines the contextual challenges that characterize the video on demand (VOD) market in Africa. It provides critical analysis of the creative strategies employed by Nigeria-based streaming services to navigate the peculiar business environment on the continent. This research is on the background of the poor Internet infrastructure and economic divides in many African countries including Nigeria. Streaming services operating in these markets must understand a context where Internet access is complicated on the levels of availability and/or affordability, including significant lack of confidence in e-payment facilities. All these, together with epileptic power supply and poor standard of living, indicate that streaming services must innovate to capture subscribers within the continent. Despite the harsh operational environment, streaming services in Nigeria have continued to increase in number within the past 5 years. This is attributed to the transnational reach of the streaming services as they are patronized by Africans in diaspora across the globe, while they also enjoy popularity within African countries. This article specifically focuses on the innovative strategies employed by Nigerian streaming services to operate within their African markets in the context of their peculiar challenges. In so doing, it extends extant scholarship about Internet-distributed video using the African context. This article is situated within the Media Industry Studies framework and draws from semi-structured interviews with 7 streaming executives in Nigeria and 10 creative professionals in the Nigerian Video Film Industry (Nollywood). It also relies on desk research of press reports, industry publications, as well as the interfaces of streaming portals. This article underscores the necessity of contextualized research with the digital turn in video distribution. Through contextualized analysis of VOD market realities in a less studied terrain like Africa, it aligns with scholarly call to expand theories of Internet-distributed video to marginal contexts.

This thesis analyses the implications of digital distribution for the Nigerian video industry (Nollywood). Following a media industry studies research framework and drawing from interviews with more than 50 industry stakeholders, this project argues the advent of digital distribution has opened formal pathways to transnational capital and audiences hitherto unseen in Nollywood. Yet rather than a rational and linear transition away from the industry’s historical informal dynamics, the emergence of streaming services in Nollywood has been marked by complexity, contradiction, and ambivalence through what I suggest are ‘pluriformalising’ market mechanisms.

This article examines the production practices that underpin the production of portal films in the Nigerian video film industry (Nollywood). Following the recent surge in the number of streaming portals focusing on the distribution of Nollywood films, a nascent video on demand (VOD) market has been created. This new market has given rise to a crop of filmmakers who now produce straight-to-portal films. This article draws on semi-structured interviews with 30 industry stakeholders comprising producers, directors, writers, and streaming executives. Adopting a critical media industry studies approach, I argue that, in the face of pervasive precarity in the Nollywood VOD market, portal filmmakers adopt informal social relations and ‘hope labour’ in navigating productions and ensuring the market is sustained. The article contributes to extant research on Nollywood's production dynamics and extends existing debates about precarity in cultural industries through a less-studied context like Nollywood.

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