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This study examines the modes of framing mental illness in the Yoruba genre of Nigerian movies. All Yoruba films on display in a convenient sample of movie rental shops in Ibadan (Nigeria) were sampled for content. Of the 103 films studied, 27 (26.2%) contained scenes depicting mental illness. Psychotic symptoms were the most commonly depicted, while effective treatments were mostly depicted as taking place in unorthodox settings. The most commonly depicted aetiology of mental illness was sorcery and enchantment by witches and wizards, as well as other supernatural forces. Scenes of mental illness are common in Nigerian movies and these depictions-though reflecting the popular explanatory models of Yoruba-speaking Nigerians about mental illness- may impede utilization of mental health care services and ongoing efforts to reduce psychiatry stigma in this region. Efforts to reduce stigma and improve service utilization should engage the film industry.
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The cinema of Nigeria, often referred to informally 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 the early 20th century. The history and development of the Nigerian motion picture industry is sometimes generally classified in four main eras: the Colonial era, Golden Age era, Video film era and the emerging New Nigerian cinema era.[9]
Film as a medium first arrived in Nigeria in the late 19th century, in the form of peephole viewing of motion picture devices.[10] These were soon replaced in the 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.[9][11] The earliest feature film made in Nigeria is 1926's Palaver directed by Geoffrey Barkas, which was also the first to feature Nigerian actors in substantial roles.[12][13] As of 1954, mobile cinema vans played to at least 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.[14]
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.[20] It started dominating screens across the African continent, and by extension the Caribbean and the wider diaspora,[21] with the movies significantly influencing cultures[22] 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".[23][24]
Since the mid-2000s, during the decline of the video-film era, the Nigerian cinema has undergone some restructuring to promote quality in output and professionalism in the industry, with The Figurine (2009) widely regarded as marking the major turnaround of contemporary Nigerian cinema. There has since been a resurgence in cinema establishments, and a steady return of the cinema culture in Nigeria.[9][25] As of 2013, Nigerian cinema is rated as the third most valuable film industry in the world based on its worth and revenues generated.[26] with the movies significantly influencing cultures.
The history of cinema in Nigeria dates back to as early as the history of film itself; notably in the late 19th century, with the use of peephole viewing of motion picture devices.[10] These were soon replaced in early 20th century with improved motion picture exhibition devices; the first set of films shown in Nigerian theatres were Western films, with the first film screened at Glover Memorial Hall in Lagos from 12 to 22 August 1903.[9][27] In that year, Herbert Macaulay had invited to Nigeria, the Balboa and Company, Spain to organize an exhibition tour of silent films in Nigeria.[27][28]
Although Mr Balboa later closed his exhibition in Lagos, while he continued showing films in other West African countries, the success of his exhibition led to a European merchant, Stanley Jones, to begin showing films in the same Glover Memorial Hall, starting from November 1903. This brought about the influx of more European film exhibitors to Nigeria.[27][28] The first film hit in this early period came on 3 August 1904, when the documentary on the visit of the Alake of Abeokuta to England was screened.[29]
Colonial filmmakers started producing films for local audiences within Nigeria since the 1920s, mostly employing the mobile cinema as a means of exhibition;[30] the earliest feature film made in Nigeria is 1926's Palaver produced by Geoffrey Barkas. The film was also the first film ever to feature Nigerian actors in a speaking role.[12][13] Nigerian film actors featured in Palaver include Dawiya and Yilkuba. The film was shot amongst the Sura and Angas people of the present day Bauchi and Plateau States in Northern Nigeria, and narrates the rivalry between a British District Officer and a tin miner which leads to a war.[12][13] Also in this era there were several films set in Nigeria, one of the most notable being 1935's Sanders of the River by Zoltn Korda, featuring Nigerian actor Orlando Martins. Martins also featured in other notable films including The Man from Morocco (1945), Men of Two Worlds (1946) and so on, and this established Martins as one of the recognized Nigerian actors of his time.[9][31] As of 1921, there were four other halls showing films twice a week in Lagos Mainland and one hall each in Ebute Metta and Oshodi. By this time, cinema had become popular in Lagos with crowds of young and old people usually waiting at the doors of theatre halls. Religion also aided in the expansion of cinema culture as the Christian missionaries used cinemas for religious propaganda.[27]
As cinemas became a common feature of the social life in the then emerging city of Lagos, the late 1930s through 1940s marked the beginning of the establishment of big commercial cinema houses with branches in strategic parts of the country. One of the earliest cinema operators in Lagos was the "West African Pictures Company" owned by Mr. S. Khalil, a member of the Syrian community in Lagos.[citation needed] He established the Rex Cinema in Ebute Metta, Regal Cinema and Royal Cinema. Other popular cinema chains include: Capitol Cinema, Casino Cinema, Kings Cinema, Central Cinema, Rialto Cinema, Corona Cinema, Odeon Cinema, Road House Cinema, Ikeja Arms Cinema and Glover Hall. In 1937, the colonial government set up a Board of Censorship to handle matters relating to the establishment and operations of cinema houses in the colony.[27] Nigerian content in films made and shown in Nigerian cinemas during this period were however virtually non-existent as the production and distribution were controlled by foreigners. Motion picture entertainment was as a result complemented by the Yoruba travel theatre groups, which emerged in the 1930s through 1940s; One of the most prominent were the Agbegijo and Alarinjo theatre groups, which featured theatre actors such as Duro Ladipo, Ishola Ogunmola, Lere Paimo, Oyin Adejobi, amongst others.[16][18]
In 1949 through 1950, the state of affairs changed a bit, with more Nigerian contents being exhibited in cinemas;[16] with a purported drive to "Africanize" film production,[30] the Nigerian Film Unit was established in order to decentralize colonial film production. The Colonial Film Unit, throughout the decade, exhibited health and educational films to local audiences through its mobile cinema vans. It also produced newsreels and short documentaries, depicting celebrations and colonial achievements to domestic and overseas audiences.[30]
After Nigeria's independence in 1960, the cinema business rapidly expanded, with new cinema houses being established.[32] However, there came a significant influx of American, Indian, Chinese and Japanese films; posters of films from these countries were all over theatre halls and actors from these industries became very popular in Nigeria. Towards the late 1960s and into the 1970s Nigerian productions in movie houses increased gradually, especially productions from Western Nigeria, owing to former theatre practitioners such as Hubert Ogunde, Ola Balogun, Moses Olaiya, Jab Adu, Isola Ogunsola, Ladi Ladebo, Sanya Dosumu and Sadiq Balewa amongst others, transitioning into the big screen.[16][17] The first fully commercial Nigerian films, shot on celluloid, were also made by these filmmakers in the 1960s.[33]
In 1972, concerned about the influx of foreign culture into Nigeria, the Indigenization Decree was issued by the then head of state Yakubu Gowon; which demands the transfer of ownership of about a total of 300 film theatres in the country from their foreign owners to Nigerians. Also, more Nigerians started playing active roles in cinema establishment as a result of this policy. This transfer also resulted in the emergence of Nigerian playwrights, screenwriters and film producers; popular literature and theatre works were adapted into motion pictures.[18] The oil boom of 1973 through 1978 contributed immensely to the spontaneous boost of the cinema culture in Nigeria. The presence of foreign investments led to the erection of several cinema complexes. In 1976, The 5000-capacity National Arts Theatre, Iganmu was constructed in Lagos. The theatre was incorporated with two cinemas, each having a capacity of over 700 people.[34] At this time cinema business had become a notable employer of many people and also served as an important social function, as Nigerians visited cinemas for relaxation and entertainment purposes.[35] The increased purchasing power in Nigeria also made a wide range of citizens to have disposable income to spend on cinema-going and on home television sets.[16] 152ee80cbc
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