MAC 212: Introduction to Film Cinema and Literature
Topic 1B: History of Film and Cinematography
The Rise of the Film Industry
By 1914, several national film industries were well-established. During this period, Europe,
Russia, and Scandinavia were the dominant players, while America played a lesser role. Films
became longer, and storytelling, or narrative, emerged as the primary form of entertainment. As
more people paid to watch movies, the industry grew, leading to increased investment in
production, distribution, and exhibition. This period saw the establishment of large studios and the
construction of dedicated cinemas. The First World War significantly impacted the European film
industry, allowing the American industry to grow in relative importance.
The 1920s: Blossoming of Films
The 1920s were a flourishing period for films, establishing the basic patterns and foundations of
the film industry and its economic organization. By the mid-1920s, movies had become big
business, with capital investment exceeding $2 billion. Some theatres even offered double features.
By the end of the decade, there were 20 Hollywood studios, and the demand for films was higher
than ever. Silent films dominated the industry throughout most of the decade.
The Golden Age of Hollywood
The 1930s and most of the 1940s are nostalgically labelled "The Golden Age of Hollywood."
Despite the predominance of black-and-white films, this era saw the sound and colour revolutions
and the advent of 'talkies'. Film genres such as gangster films, musicals, historical biopics, social-
realism films, comedies, westerns, and horror films further developed during this time. The
transition from silent films to sound films caused many silent film stars to lose their prominence.
The 1940s: A Challenging Start and a Profitable Peak
The early 1940s were challenging for the American film industry, especially after the attack on
Pearl Harbor in late 1941 and the resultant loss of foreign markets. However, Hollywood
rebounded and reached its peak efficiency from 1943 to 1946. Advances in film technology,
including sound recording, lighting, special effects, and cinematography, made films more
watchable and modern.
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The 1950s: Post-War Changes
The 1950s were known for post-war affluence and increased leisure activities. The advent of
television and the rise of drive-in theatres peaked in the late 1950s, with over 4,000 outdoor
screens.
The 1960s: Social Changes and Made-for-TV Movies
The 1960s reflected a decade of fun, fashion, rock 'n' roll, significant social changes, and shifting
cultural values. Made-for-TV movies became a regular feature of network programming by the
mid-decade.
The Birth of the Multiplex
In 1963, Stanley H. Durwood opened the first-ever mall multiplex, consisting of two side-by-side
theatres with 700 seats at Ward Parkway Center in Kansas City. Three years later, he introduced
the world's first four-plex, and by 1969, he built a six-plex with automated projection booths.
The 1970s: Changing Content and Technology
In the 1970s, restrictions on language, adult content, sexuality, and violence loosened, making
these elements more widespread. The era was influenced by the hippie movement, civil rights
movement, free love, rock and roll, changing gender roles, and drug use. VHS video players, laser
disc players, and the release of films on videocassette tapes and discs created a new industry and
added substantial revenue for movie studios.
The 1980s: High-Concept Films and New Technologies
The 1980s saw the rise of 'high-concept' films, which were less experimental and more formulaic
but capitalized on new special effects (CGI) techniques. Cable TV networks, direct broadcast
satellites, and ½ inch videocassettes (in the VHS format) broadened film distribution. Sales and
revenues from pre-sold theatrical features for videocassette reproduction and cable TV distribution
increased studios' earnings, sometimes outpacing box-office profits.
The 1990s: Multiplexes and Digital Advancements
In the 1990s, cinema attendance increased, particularly at multi-screen cineplex complexes. The
VCR remained popular, with rentals and purchases of videotapes surpassing movie theatre ticket
sales. By 1997, DVDs (Digital Video Discs) emerged, offering sharper resolution pictures, better
quality and durability than videotapes, interactive extras, and more secure copy-protection. Films
began using special-effects CGI in more subtle, innovative ways.
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History of Films in Nigeria
The Nigerian film industry, informally known as Nollywood, has a rich and diverse history that
spans over a century. The development of the Nigerian film industry can be categorized into six
distinct phases: the colonial era, the Independence era, the Indigenous film era, the Television era,
the Home Video (Nollywood) era, and the New Nollywood era. Each phase represents significant
milestones and transformations that have shaped the industry into what it is today.
1. The Colonial Era (Late 19th Century – Early 1960s)
The introduction of film in Nigeria dates back to the late 19th century, with the arrival of peephole
viewing motion picture devices. By the early 20th century, improved motion picture exhibition
devices were being used, and the first set of films were screened at the Glover Memorial Hall in
Lagos in August 1903. This marked the beginning of cinema in Nigeria during colonial times.
During the 1920s, colonial filmmakers began producing films for local audiences, often using
mobile cinemas for exhibition. The earliest feature film made in Nigeria was Palaver (1926),
produced by Geoffrey Barkas, which was shot among the Sura and Angas people. This period also
saw the establishment of the Colonial Film Unit (CFU) in 1939, which used film as an educational
tool, producing newsreels and documentaries on various topics.
By the late 1930s, commercial cinema houses were becoming a common feature in Lagos.
However, Nigerian content in films was virtually non-existent, as production and distribution were
controlled by foreigners. The establishment of the Nigerian Film Unit in 1949 aimed to
decentralise colonial film production and promote more Nigerian content.
2. The Independence Era (Early 1960s – Late 1960s)
Nigeria's independence in 1960 marked a significant expansion of the film industry, with the
establishment of many new cinema houses.
The 1960s saw an increase in Nigerian content in theatres, particularly from Western Nigeria, as
former theatre practitioners like Hubert Ogunde and Moses Olaiya transitioned to the big screen.
However, the influx of American, Indian, Chinese, and Japanese films also dominated Nigerian
cinemas during this period.
The Federal Film Unit (FFU) replaced the CFU after independence, focusing on documentary
production. The era also witnessed the establishment of Nigeria's first film production companies,
such as Latola Film (1962) and Calpeny Nigeria Ltd. The first Nigerian film entirely copyrighted
to the Nigerian Film Unit was "Fincho" (1957) by Sam Zebba, also the first Nigerian film shot in
colour.
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3. The Indigenous Film Era (Late 1960s – Late 1980s)
The late 1960s and 1970s saw the emergence of fully commercial Nigerian films, shot on celluloid,
by filmmakers like Ola Balogun and Hubert Ogunde. The indigenisation Decree of 1972 mandated
the transfer of ownership of cinema theatres from foreign owners to Nigerians, inspiring a new
generation of Nigerian playwrights, screenwriters, and film producers.
The establishment of the National Arts Theatre in Lagos in 1976 and the Nigerian Film
Corporation (NFC) in 1979 provided structural support for the industry. However, the late 1980s
marked a decline in cinema culture due to economic challenges, lack of finance, and inadequate
production facilities. This period saw a shift towards television productions as the primary medium
for Nigerian filmmakers.
4. The Television Era (Late 1980s – Early 1990s)
The decline of the Indigenous (golden) era of cinema in the late 1980s led to a boom in television
productions. Platforms like the Nigerian Television Authority (NTA) became nurturing grounds
for new filmmakers and popular TV series like The Village Headmaster and Checkmate provided
entertainment and laid the groundwork for the home video industry.
The emergence of video films in the 1980s, inspired by television productions like Jimi Odumosu’s
Evil Encounter (1980), marked the beginning of a new era. The success of these television
productions highlighted the potential of video films as a lucrative medium.
The idea of video films was further developed by producers such as Babatunde Adelusi (Adamson)
and Ade Ajiboye (Big Abass), who produced the first Nigerian video film, Soso Meji (1988). This
success led to a surge in video film production, especially among Yoruba filmmakers.
5. The Home Video (Nollywood) Era (Late 1980s – Mid 2010s)
The home video era, also known as Nollywood, was driven by the need for cost-effective film
production. The Nigerian film industry experienced significant growth in the 1990s and peaked in
the mid-2000s. Kenneth Nnebue’s Living in Bondage (1992) is widely regarded as the film that
kick-started this boom. By 2004, Nigeria was producing four to five films daily, making it the
second largest film industry in the world in terms of annual production.
This era saw the dominance of Nigerian video films across Africa and the diaspora, with
productions in multiple languages, including Igbo, Yoruba, Efik, Ijaw, and Itshekiri. Despite its
success, the industry faced challenges such as piracy, lack of government support, and inadequate
distribution infrastructure.
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6. The New Nollywood Era (Mid-2000s – Present)
The New Nollywood era represents a shift back to cinema production, with a focus on high-quality
films suitable for theatrical release. The growth of modern cinema chains like Silverbird, Genesis
Deluxe, and Ozone Cinemas in the early 2000s provided new platforms for Nigerian films. This
era saw a new generation of filmmakers producing films with international appeal and better
storylines.
The 2009 thriller The Figurine is considered a significant milestone, drawing media attention to
the New Nollywood movement. Subsequent films like Ijé (2010) and Half of a Yellow Sun (2013)
further elevated the industry, leading to increased revenue and international recognition.
The government’s support through initiatives like Project Nollywood and the NollyFund
programme has also contributed to the industry's growth. Despite ongoing challenges with
copyright and distribution, New Nollywood has seen notable improvements in storytelling,
production quality, and performances.
