Nollywood in Lagos, Lagos in Nollywood Films

A Break with the Past: The Nigerian Video-film Industry in the Context of Colonial Filmmaking

“…This is so "because it was the first to be packaged in a full-colour printed jacket and wrapped in cellophane, like an imported American or Indian film". 84 Nnebue himself had previously made a video-film in Yoruba, Aje Ni Iya Mi (1989).…”

“…Interior scenes are shot in houses borrowed for a few days, so the colour of the walls behind an actor cannot be changed". 86 Postproduction facilities when shooting in video began were improvised. Nnebue's first film, for instance, "was shot on an ordinary VHS camera and edited on two VCRs".…”

‘No Condition IS Permanent': Informal Transport Workers and Labour Precarity in Africa's Largest City

“…An alternative narrative has since emerged: the ‘aesthetic of chaos' (Gandy, ), which celebrates the coping mechanisms and creative forms of self‐organization of the urban poor and dispossessed whose remarkable ability to exist is interpreted as defying common‐sense logic and constricted Western ideas of order (Packer, : 66; Haynes, ). Such narrative is exemplified by Rem Koolhaas, the renowned urban architect leading the Harvard City Project.…”

Lagos, Koolhaas and Partisan Politics in Nigeria

“…The Koolhaas team's interpretation of Lagos as a globalized modern city, a ‘mega city which works’ has attracted more interest within the academic community interested by cities worldwide than in Nigeria itself, where his essay has been poorly debated in the main universities of the country (see, however, Konu, 2002). For some scholars, this interpretation offers the possibility to get away from urban planning trapped in an almost entirely negative contemplation of Lagos's deficiencies and failures (Haynes, 2007: 132), bringing instead a more positive vision of African cities (de Boeck, 2006) and of the capacity of people to create parallel infrastructure systems in transportation and trading (Larkin, 2004: 310). Others have criticized the architect for his ignorance of the suffering of the poor (Packer, 2006), for overestimating the flexibility of such a system (Thrift, 2005: 138) or, alternatively, for not explaining what exactly this modernity means (Hofmeyr and Pauwels, 2002).…”