In search of statistics for the monster : piracy and the precarity of the nigerian film industry

Ver registo simples
dc.contributor.authorIwuh, John
dc.contributor.authorPatrick, Nicodemus Adai
dc.contributor.authorFayenuwo, Dominic OluwaGbenga
dc.contributor.authorAnaemene, Benjamin Uchenna
dc.contributor.authorUwadinma-Idemudia, Eunice
dc.contributor.authorRobbin, Anjola
dc.contributor.institutionEscola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
dc.date.issued2023
dc.descriptionInternational Journal of Film and Media Arts
dc.description.abstractThe study investigates piracy from three categories of stakeholders outside the 3% elite population that patronizes the mega stores. The youth represent a high population of movie viewers found in the suburban areas of selected cities. It also took account of those in the universities that constitute major patronage but do not actually pay the right price for the films. There was the need to study the unique and peculiarity of Nigerian piracy, the level of awareness of consumers of pirated products, the level of involvement of the youths, and if operates uniquely, and exhibits different dynamics from foreign examples, as well as the effectiveness of the antipiracy bodies. This study selected 16 low-budget filmmakers and sampled the opinions of 500 online-dependent university students including TV/DVD-playback suburban youth population. Findings reveal that those who advertently or inadvertently patronize pirated movies account for 88%, with 93% proliferation of low-quality pic¬tures. 100% of university students sampled depend wholly on online downloads, except if compelled to stream online. Mu¬tual suspicion characterizes Nigeria’s film industry, and the study identified six categories that unfortunately make the list of collaborators of Nigerian pirates with unregistered marketers accounting for 93.8%, unscrupulous practitioners outside the registered unions (75%), while 53.3% implicated the regulators. Nigerian film piracy exhibits a special peculiarity of illegally copying, printing, and publicly selling these counterfeits with impunity. And sadly, to the chagrin of creative artists. The study concludes that Nigerian pirates and their patrons enjoy the unhindered liberty of operating publicly, and the law enforcement agents do not yet have the magic wand to end it. Getting listed by Netflix has become a major breakthrough, while the re¬turn of cinema viewing centres presently serves as another avenue of direct negotiation and control for Nollywood filmmakers.pt
dc.description.abstractThe study investigates piracy from three categories of stakeholders outside the 3% elite population that patronizes the mega stores. The youth represent a high population of movie viewers found in the suburban areas of selected cities. It also took account of those in the universities that constitute major patronage but do not actually pay the right price for the films. There was the need to study the unique and peculiarity of Nigerian piracy, the level of awareness of consumers of pirated products, the level of involvement of the youths, and if operates uniquely, and exhibits different dynamics from foreign examples, as well as the effectiveness of the antipiracy bodies. This study selected 16 low-budget filmmakers and sampled the opinions of 500 online-dependent university students including TV/DVD-playback suburban youth population. Findings reveal that those who advertently or inadvertently patronize pirated movies account for 88%, with 93% proliferation of low-quality pic-tures. 100% of university students sampled depend wholly on online downloads, except if compelled to stream online. Mu-tual suspicion characterizes Nigeria’s film industry, and the study identified six categories that unfortunately make the list of collaborators of Nigerian pirates with unregistered marketers accounting for 93.8%, unscrupulous practitioners outside the registered unions (75%), while 53.3% implicated the regulators. Nigerian film piracy exhibits a special peculiarity of illegally copying, printing, and publicly selling these counterfeits with impunity. And sadly, to the chagrin of creative artists. The study concludes that Nigerian pirates and their patrons enjoy the unhindered liberty of operating publicly, and the law enforcement agents do not yet have the magic wand to end it. Getting listed by Netflix has become a major breakthrough, while the return of cinema viewing centres presently serves as another avenue of direct negotiation and control for Nollywood filmmakers.en
dc.description.statusNon peer reviewed
dc.identifier.citationIwuh , J , Patrick , N A , Fayenuwo , D O , Anaemene , B U , Uwadinma-Idemudia , E & Robbin , A 2023 , ' In search of statistics for the monster : piracy and the precarity of the nigerian film industry ' , International Journal of Film and Media Arts , vol. 8 , no. 2 , pp. 26 - 42 . https://doi.org/10.24140/ijfma.v8.n2.02
dc.identifier.doihttps://doi.org/10.24140/ijfma.v8.n2.02
dc.identifier.issn2183-9271
dc.identifier.urlhttps://www.scopus.com/record/display.uri?eid=2-s2.0-85176276682&origin=inward
dc.language.isoeng
dc.publisherLusofona University
dc.relation.ispartofseriesvol.8, no.2, 26 - 42
dc.rightsopenAccess
dc.subjectAUDIOVISUAL
dc.subjectCINEMATOGRAFIA
dc.subjectPOLÍTICA ECONÓMICA
dc.subjectPIRATARIA
dc.subjectCINEMA AFRICANO
dc.subjectCINEMATOGRAPHY
dc.subjectECONOMIC POLICY
dc.subjectPIRACY
dc.subjectAFRICAN CINEMA
dc.titleIn search of statistics for the monster : piracy and the precarity of the nigerian film industryen
dc.typearticle

Ficheiros

Principais
A mostrar 1 - 1 de 1
Miniatura indisponível
Nome:
IWUH_IN SEARCH OF STATISTICS FOR THE MONSTER PIRACY AND THE PRECARITY OF THE NIGERIAN FILM INDUSTRY.pdf
Tamanho:
473.11 KB
Formato:
Adobe Portable Document Format
Descrição:
art
Ver/Abrir
Licença
A mostrar 1 - 1 de 1
Miniatura indisponível
Nome:
license.txt
Tamanho:
1.71 KB
Formato:
Item-specific license agreed upon to submission
Descrição:
Ver/Abrir

Coleções

International Journal of Film and Media Arts, Vol. 8, Nº. 2 (2023)