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Over the years, the impact of Nollywood on the promotion and development of Nigerian culture has cut across geographical boundaries. In terms of film production quality, the industry has made significant progress, even though there remains great room for improvement. In recent times, output from the industry gained global recognition, with films such as Lion Heart, King of Boys and Chief Daddy, to mention a few, attaining great landmarks in the film world in 2019. A significant feature in the Nigerian film industry is the wealth of diversity which reflects the true Nigerian nation. The involvement of Igbo indigenes in the Nollywood industry has helped put the Nollywood ideology into the consciousness of Nigerians and the world. Therefore, this chapter examines the relevance of the Igbo traditional business model in sustaining the dominance of Igbos in the distribution network of films in the Nigerian film industry, also known as Nollywood.

The purpose of this paper is to highlight the marketing challenges facing the Nigerian movie industry – Nollywood. The paper also attempts to make a case for due recognition to this multimillion dollar industry in management research as opposed to being pigeonholed in the domain of media, film or cultural studies.

The case study benefits from a mixture of survey questionnaires, in‐depth interviews and focus groups drawing on a range of themes from Nollywood's target audience in the diasporas over a three‐year period (2005‐2007).

Explanations for why African movies – as epitomized by the case of Nollywood – continue to lack box office appeal cannot be detached from the poor marketing‐mix strategies adopted – notably weak marketing communications and poor product quality.

The paper is restricted to a convenience sample of respondents and may arguably suffer from a weakness of generalizability.

Nollywood directors, producers, distributors, marketers and all other stakeholders must organize national, regional and international networks/networking events in order to guarantee the requisite forum for shared access, ideas and more importantly technology and technical know‐how. There is also the need for skills upgrading and more robust marketing communications.

This is the first major attempt to move the discourse of cinematic consumption away from the field of media studies to general management – notably marketing. The paper exudes of a powerful message – this is not just art, it is big business!

In the last 15 years, Nigeria has developed a feature film industry based on video and video compact disc distribution which currently produces over 600 films a year making Nigeria (in terms of numbers) one of the largest film producing nations in the world. English language films (Nollywood) have become a dominant media form all over the African continent. The purpose of this paper is to evaluate the implications of this phenomenon for marketing video film in Africa, and examine the structure of the industry.

Using the case study method, the paper examines how a technological innovation such as video home system (VHS) is being used in ways never imagined or intended by the innovators. Consequently, the emergence and proliferation of inexpensive VHS video tape recorders have led to the growth of video‐based movie production in several African countries, especially Nigeria.

It is hoped that findings of this case study will provide the basis for future scholarly analysis of the economy of the Nollywood industry, and also provide a template for practitioners to engage in future research in video film in Africa.

There have been no studies of Nollywood published to date.

This paper aims to review the latest management developments across the globe and pinpoint practical implications from cutting‐edge research and case studies.

This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context.

First Hollywood in the USA, then Bollywood ‐ the Indian film industry centred on Mumbai ‐ and now Nollywood, the Nigerian movie industry. With revenues of over US$70 million in 2009, Nollywood is Nigeria's second highest revenue earner. It is one of the country's largest employers of skilled and semiskilled labour, driven solely by private initiative and operating without government support or intervention. Judging by the scale of bank transfers into Nigeria every year, there are a great many Nigerians living outside the country and a big prospective market for “Naija” films ‐ but there has yet to be a Nigerian movie premiere in the USA. In London, there are large immigrant populations of African origin – but no Nollywood movie theatres. This is a multimillion dollar industry with considerable growth prospects – but no coherent strategy for the marketing and distribution of its products.

The paper provides strategic insights and practical thinking that have influenced some of the world's leading organizations.

The briefing saves busy executives and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy‐to digest format.

The purpose of this study is to explain how and why firms configure copyright practices when confronted with state-sanctioned laws and informal customs projected by local ethnic or religious communities.

A multi-case inductive study of four film-producing organizations within the Nigerian film industry (i.e. Nollywood) was conducted. Specifically considered were firms that started their operations around the same time with similar founding conditions, experiences, resources and technical competencies. Field observations and multiple rounds of in-depth interviews were conducted to achieve the research objectives.

The study found that firms adopted dominant or hybrid configurations when interacting with informality and formality. Dominant configurations represent the exclusive adoption of informal copyright practices while hybrid configurations refer to the blended use of informal and formal copyright practices. The second set of findings revealed that each firm’s strategic intent affected the type of interactional configuration that unfolded in the firm. Specifically, firms with social intents tended to adopt dominant configurations, whereas firms with socio-economic intents tended to adopt hybrid configurations.

The study implies that firms may profit from strategically focusing on when and in what circumstances to adopt informality. Strategic intents that blend social and economic rationales may secure more positive interactive outcomes from internal and external stakeholders promoting formality and informality.

This study highlights the fact that firms embedded in local religious and ethnic communities use organizational practices to solve social and institutional problems of their members. The copyright practices of these organizations encourage apprenticeship, youth empowerment and entrepreneurship in Nigeria.

To the best of the authors’ knowledge, this is the first study that goes beyond macro-level analysis to investigate the interactional dynamics between formality and informality at the firm, community, and state levels. The study is also first of its kind to use copyright practices as an analytical lens to explore the interaction between informality and formality.

This chapter explores the creative industries in Africa from a digital perspective. This ranges from digital advertising, design, fashion, film and music production to digital publishing and photography. There have been quite a range of innovative developments in the global value chain, which are also explored such as the deployment of artificial intelligence and augmented and virtual reality. Everything Digital – Fashion, Film, and Music production and distribution – is considered in the chapter. It also paves the way for further interrogation of the legal landscape and intellectual property challenges in the creative industries – which is the focus of Chapter 6.