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The cinema of Nigeria, often referred to as Nollywood, consists of films produced in Nigeria; its history dates back to as early as the late 19th century and into the colonial era in early 1900s. The history and development of the Nigerian motion picture industry is sometimes generally classified in four main eras: the Colonial era, Golden Age, Video film era and the emerging New Nigerian cinema. Film as a medium first arrived Nigeria in the late 19th century, in the form of peephole viewing of motion picture devices. These were soon replaced in early 20th century with improved motion picture exhibition devices, with the first set of films screened at the Glover Memorial Hall in Lagos from 12 to 22 August 1903. The earliest feature film made in Nigeria is the 1926's ''Palaver'' produced by Geoffrey Barkas; the film was also the first film ever to feature Nigerian actors in a speaking role〔(【引用サイトリンク】 title=PALAVER: A ROMANCE OF NORTHERN NIGERIA )〕 As at 1954, mobile cinema vans played to atleast 3.5 million people in Nigeria, and films being produced by the Nigerian Film Unit were screened for free at the 44 available cinemas. The first film entirely copyrighted to the Nigerian Film unit is ''Fincho'' (1957) by Sam Zebba; which is also the first Nigerian film to be shot in colour.〔(【引用サイトリンク】 title=Lights, Camera, Africa!!! )〕 After Nigeria's independence in 1960, the cinema business rapidly expanded, with new cinema houses being established. As a result, Nigerian content in theatres increased in the late 1960s into the 1970s, especially productions from Western Nigeria, owing to former theatre practitioners such as Hubert Ogunde and Moses Olaiya transitioning into the big screen.〔(【引用サイトリンク】 title=History of Nollywood )〕 In 1972, the ''Indigenization Decree'' was issued by Yakubu Gowon, which demands the transfer of ownership of about a total of 300 film theatres from their foreign owners to Nigerians, which resulted in more Nigerians playing active roles in the cinema and film. The oil boom of 1973 through 1978 also contributed immensely to the spontaneous boost of the cinema culture in Nigeria, as the increased purchasing power in Nigeria made a wide range of citizens to have disposable income to spend on cinema going and on home television sets..〔(【引用サイトリンク】 title=History of Nollywood )〕 After several moderate performing films, ''Papa Ajasco'' (1984) by Wale Adenuga became the first blockbuster, grossing approximately ₦61,000 (approx. 2015 ₦21,552,673) in three days. A year later, ''Mosebolatan'' (1985) by Moses Olaiya also went ahead to gross ₦107,000 (approx. 2015 ₦44,180,499) in five days. After the decline of the Golden era, Nigerian film industry experienced a second major boom in the 1990s, supposedly marked by the release of the direct-to-video film ''Living in Bondage'' (1992); the industry peaked in the mid 2000s to become the second largest film industry in the world in terms of the number of annual film productions, placing it ahead of the United States and behind only India. The started dominating screens across the African continent and by extension, the Caribbeans and the diaspora, with the movies significantly influencing cultures, and the film actors becoming household names across the continent. The boom also led to backlash against Nigerian films in several countries, bordering on theories such as the "Nigerialization of Africa". Since mid-2000s, the Nigerian cinema have undergone some restructuring to promote quality and professionalism, with ''The Figurine'' (2009) widely regarded as marking the major turn around of contemporary Nigerian cinema. There have since been a resurgence cinema establishments, and a steady return of the cinema culture in Nigeria. As of 2013, Nigerian cinema is rated as the third most valuable film industry in the world based on its worth and revenues generated. == History == The first Nigerian films were made by filmmakers such as Ola Balogun and Hubert Ogunde in the 1960s, but they were frustrated by the high cost of film production.〔(''New Nigerian Cinema: An Interview with Akin Adesokan'' (2006). Retrieved from www.Indiana.edu on May 27, 2008. ) 〕 However, television broadcasting in Nigeria began in the 1960s and received much government support in its early years. By the mid-1980s every state had its own broadcasting station. Law limited foreign television content so producers in Lagos began televising local popular theater productions. Many of these were circulated on video as well, and a small-scale informal video movie trade developed. Nigerian film industry had always been making films on celluloid and the films were screened in cinema houses across Nigeria and later released on VHS for various homes. However, the release of the Straight-to-video movie ''Living in Bondage'' in 1992 by NEK Video Links owned by Kenneth Nnebue launched the Home video market in Nigeria. Nnebue had an excess number of imported video cassettes which he then used to shoot his first film on a Video Camera. Nollywood exploded into a booming industry in the late '90s and pushed foreign media off the shelves. It is now an industry marketed all over Africa and the rest of the world. The use of English rather than the local languages expanded the market and aggressive marketing using posters, trailers, and television advertising also played a role in Nollywood's success. One of the first Nigerian movies to reach international renown was the 2003 release ''Osuofia in London,'' starring Nkem Owoh, the Nigerian comedic actor. First Nollywood films were produced using celluloid while Nollywood straight-to-video productions were produced with traditional analog video, such as Betacam SP, but today almost all Nollywood movies are produced using digital cinematography technology. ''The Guardian'' has cited Nigeria's film industry as the third largest in the world in earnings and estimated the industry to bring in US$250 million per year.〔(From ''The Guardian''. Retrieved from film.guardian.co.uk on May 27, 2008 )〕 In April 2014, Nigeria's GDP rebasing was concluded and Nollywood was announced to be worth NG₦853.9 billion (US$5.1 billion) and Nigeria's economy was announced as the largest in Africa. Nollywood's biggest competition in the Nigerian market is the Ghanaian film industry. However, many Ghanaian productions are copyrighted to Nollywood and distributed by Nigerian marketers due to Nigeria's bigger market. Nigerian filmmakers usually feature Ghanaian actors in Nollywood movies as well and that has led to the popularity of Ghanaian actors almost like their Nigerian counterparts.〔(【引用サイトリンク】 title=Ghanaian Actor, Majid Michel Salutes Nollywood, Berates Ghollywood )〕 Van Vicker, a popular Ghanaian actor, has starred in many Nigerian movies. As a result of these collaborations, Western viewers often confused Ghanaian movies with Nollywood and count their sales as one; however, they are two independent industries that sometimes share the colloquial "Nollywood". In 2009, Unesco described Nollywood as being the second-biggest film industry in the world after Bollywood in output and called for greater support for second-largest employer in Nigeria. The Nigerian film industry is also colloquially known as ''Nollywood'', having been derived as a play on ''Hollywood'' in the same manner as ''Bollywood'' from Bombay, India.〔''The Economist'', "(Nollywood: Lights, camera, Africa )", 18 December 2010, pp. 85-88.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cinema of Nigeria」の詳細全文を読む スポンサード リンク
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