Publication: La producción cinematográfica en el contexto africano: estudio de caso del cine de Nigeria, Nollywood
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2020-02-04
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Universidad Complutense de Madrid
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Abstract
Esta investigación se ocupa del estudio de la producción cinematográfica en el contexto africano poniendo el foco en la industria del cine nigeriana, denominada Nollywood. Este cine se caracteriza por el estreno directo en vídeo y DVD en sus inicios y cuenta, actualmente, con importantes plataformas VOD de distribución online. El estudio del fenómeno ha sido abordado desde una perspectiva cualitativa, mediante el análisis de su modelo de producción, y en comparación con los países líderes en realización de largometrajes, India y Estados Unidos. Los tres modelos, de financiación privada, difieren en su estructura empresarial, vertical y articulada en torno a las majors en Estados Unidos, y con una organización horizontal en la India y Nigeria; dónde múltiples agentes intervienen en el mercado. La digitalización del cine les ha afectado de diferente forma, siendo Estados Unidos y Nigeria líderes en el desarrollo de plataformas VOD internacionales, mientras en la India, el proceso de conversión es más lento y afecta principalmente a la distribución. Hollywood mantiene una puja entre los nuevos y los viejos modelos y Nollywood ha orientado su mercado hacia la red. Desde que comenzaron a proliferar estas plataformas, se ha planteado un debate sobre la posibilidad de orientar la creación audiovisual hacia nuevas fórmulas low cost orientadas a la distribución digital en múltiples pantallas y dispositivos, y prescindir de la sala de cine como exhibidor principal.
This research deals with the study of film production in the African context by focusing on the Nigerian film industry, called Nollywood. This cinema is characterized by the direct premiere in video and DVD in its beginnings and, currently, has important VOD platforms for online distribution. The study of the phenomenon has been approached from a qualitative perspective, through the analysis of its production model, and it´s being compared with the leading countries in the realization of feature films, India and the United States. Those three models, of private financing, differ in their business structure, vertical and articulated around the majors in the United States, and with a horizontal organization in India and Nigeria; where many agents partipates in the market. The digitization of cinema has affected them in different ways, United States and Nigeria leads the development of international VOD platforms, while in India, the digitalization process is slower and mainly affects to distribution. Hollywood maintains a bid between new and old models and Nollywood has oriented its market towards the network. Since these platforms began to proliferate, a debate has arisen about the possibility of a low cost audiovisual creation formulas, aimed at digital distribution in multiple screens and devices, excluding the cinema as the main exhibitor.
This research deals with the study of film production in the African context by focusing on the Nigerian film industry, called Nollywood. This cinema is characterized by the direct premiere in video and DVD in its beginnings and, currently, has important VOD platforms for online distribution. The study of the phenomenon has been approached from a qualitative perspective, through the analysis of its production model, and it´s being compared with the leading countries in the realization of feature films, India and the United States. Those three models, of private financing, differ in their business structure, vertical and articulated around the majors in the United States, and with a horizontal organization in India and Nigeria; where many agents partipates in the market. The digitization of cinema has affected them in different ways, United States and Nigeria leads the development of international VOD platforms, while in India, the digitalization process is slower and mainly affects to distribution. Hollywood maintains a bid between new and old models and Nollywood has oriented its market towards the network. Since these platforms began to proliferate, a debate has arisen about the possibility of a low cost audiovisual creation formulas, aimed at digital distribution in multiple screens and devices, excluding the cinema as the main exhibitor.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 18/10/2019