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The following are the highest-grossing Nigerian films of all time in Nigerian cinemas. Revenues from special screenings, DVD sales, online streaming and theatrical screenings outside English-speaking West Africa are excluded from this gross total. Films from this list have not been adjusted for inflation.

Not less than 38 films were released by the t less than 38 films were released nationwide by the Yoruba Video Film Producers/Marketers Association of Nigeria(YOVIFPMAN) with effect from Monday, 25, 2013. They include Ile Ijo by Olasco Films; Oko Were by Isolak Film Production; Kani by Corporate Pictures; Idajo by Zentury ; Suga by Latmus films; Alatise by Keny Climax; Olorunsogo by Ji

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Popular Yoruba marketer and boss of Olasco films, Olajide Balogun is currently enmeshed in a legal battle with the producer of , Sharafadeen Olabode.

While Olabode has slammed the Olasco films boss with a law suit claiming breach of contract and unlawful release of his movie project, Olalekan claims he gave the Olasco boss the go ahead as the rightful owner of the movie project.

The thrust of this paper is the critical evaluation of the level of acceptance of social media marketing in the Yorb film industry. In this age of globalization, many film marketers across the world have abandoned traditional media in favor of online forms of communication, which enable them to share information and get feedback from their audience. Based on this premise, it is necessary to investigate the level of acceptance of social media as a channel for film marketing in the fledgling Yorb video film industry. Questionnaires were administered to fifty randomly selected marketers in Ibadan and the Lagos metropolis, where there is a high concentration of these video film personnel. The study reveals that due to technology deficiency and lack of interest many marketers have not adopted social media for marketing their film products. The ineffective implementation of the copyright law in Nigeria, which is the major bane of this industry, has also prevented the marketers from adopting the new media. The loose market structure in the industry also deters marketers from maximally utilizing the great potentials social media marketing offers. Recommendations are made for improvement.

Smartphones are the most frequently used device for social media functions due to their portability and convenience. Just as with other digital devices, there is a kind of digital convergence within smartphones. The features of smartphones include software programs that aid in internet searches, web browsing, downloading and uploading of film and music, camera, camcorder, voice recorder, games, and so on. There are also countless free and paid applications available on smartphones.

Over the years, the number of Internet users has increased significantly. This numerical improvement has paved the way for the viability of promoting and marketing films online. Below is the statistics of Internet users between 2005 and 2014:

Presently, film marketers and distributors also use social media to reach several types of audiences with their films, uploaded on platforms such as YouTube, Facebook, Instagram, and Afrinolly, among others. Referring to an earlier survey by Razorfish, Qalman noted that seventy-six percent of one thousand people surveyed agreed that they did not mind seeing advertisements on social media websites they accessed, and forty percent of them acted on the advertisement (2009). This figure shows the potentiality of social media in terms of advertisement and promotion of goods and services.

The primary aim of this work is to determine the level of acceptance and deployment of social media for film marketing among the Yorb film marketers and promoters since its introduction at the turn of this century. To achieve our objective, a number of research questions were raised to determine: which media Yorb marketers employ for marketing and distribution of their films, what knowledge they have of the operations of social media and copyright or anti-piracy laws, and their level of competence on the use of social media. The questions contained in our questionnaire were based on these research questions.

The production of Yorb video films started in the early 1990s, when the production of celluloid came to an abrupt halt as a result of the economic recession in Nigeria at the time. The history of the development of filmmaking in Nigeria is not complete without reference to the pioneering efforts of Yorb theatre practitioners such as Duro Ladipo, Ishola Ogunshola, Moses Olaiya Adejumo, and Ade Afolayan among others, who had abandoned the stage for celluloid film production in the latter part of the 1970s.

Viewing the Yorb video industry as an arm of Nollywood, the generic name for Nigerian movies, is a misconception. The Yorb video industry according to Alamu is a distinct regional variation of the film industry in Nigeria with its own personnel and audience (2010, 4). It is an ethno-cultural video industry within a national frame. Though we have Yorb actors who at times cross-over to act in Nollywood films (especially the films in English), they still belong to either the Association of Nigerian Theatre Practitioners (ANTP) or Theatre and Media Practitioners Association of Nigeria (TAMPAN), the two bodies that regulate the Yorb video industry.

The Yorb video film industry rarely enjoys government sponsorship. Its development is through the accretion of its personnel and shareholders. The industry has a loose market that gives room for even non-professionals to operate. For instance, one only needs to join one of the two Yorb marketers associations to become a qualified marketer.1

Many Yorb video films are made with low-budgets and haphazard processes of pre-production, production and post-production. Films are shot in a period of two weeks and released immediately into the market.2 But with this sub-standard practice, producers and marketers still make marginal profits from production and marketing. The reason for this is not far-fetched. The population of the Yorb located in six states of Nigeria, which was put at about thirty million as of the 2006 census has been a strong factor for the commercial viability of Yorb video production. The fact that the Yorb audience also loyally follows the film producers from the theatre to film, makes the film venture profitable. Moreover, film producers have always exploited the fact that most of their audiences are lay audience and artisans, who have little knowledge of film appreciation and content quality and would therefore buy any film released into the market so far their idolized star(s) act(s) in the film and such film reflects what is happening (sociopolitical issues) in the society in which they live.3 Propaganda is also a tool employed by producers and marketers to convince the audience and lure them into buying their films.

In the Yorb video industry, marketers dictate the pace and are in complete control of its operations for the simple reason that they produce the funds for production. Producers run to marketers for funds and this encourages the marketers to meddle in the production process, and most times dictate to the producer the kind of film to be produced and their choice of the crew. This corrupt practice has not helped the quality of production.

Data was gathered through qualitative interviews with fifty marketers in the Yorb video film industry. These film personnel were randomly selected from Ibadan and Lagos metropolis, the two major cities where they are highly concentrated. The main research tool used to elicit information from the respondents was a questionnaire.

The questionnaire is divided into two sections. The first section has five questions that elicit demographic information and the background of respondents. The second part, which has eight questions, focuses on production and the mode or channel of marketing and distributing films. The questionnaire, with its varied question types, both short-answer and open-ended, gave respondents an ample opportunity to bear their minds on the nature of production and marketing in the Yorb video film industry. The questionnaire was conducted in English or Yorb, according to the comfort and preference of the respondent. The simple percentage procedure was employed for analysis. The percentages represent the number of respondents who gave each answer as a proportion of the number of respondents who answered the question.

The question on profession of respondents was intended to establish if all

the respondents were Yorb film marketers. All of the respondents claim to

be marketers. But, when we came to the question of who provides the funds

for the production of the films they market, the result reinforces our earlier

discussion on the control being exercised by the marketers over the producers.

At times, producers run to us (marketers) to finance the production of

their films and since we are marketers we feel obliged to also market such

films after production for the reasons that marketing is our primary business,

and we believe we can market such films better especially the ones

with good stories. Since we provide the funds also we feel we can contribute

by suggesting the kind of stories that will sell and the kind of actors

that the audience are familiar with and will buy such films once they see

their idolized actor (s) in them. We have to protect our investment.

While seventy-six percent of respondents declare that they provide funds

for production and also market the finished products, only twenty-four percent concentrate on marketing and are not involved in film production.

Our survey on the media of marketing and distributing of films revealed

that thirty-eight percent of respondents make use of social media for marketing their products. Of the respondents, sixty-two percent have not adopted the use of social media and they still rely on the old media. 2351a5e196