In Western culture, a Global film is considered to be a production that is not made in the major western countries, such as the UK, the US, Canada, etc. The emergence of global film industries, such as Nollywood and Korean films, have contributed to the increasing globalisation of film.
Beginning in the early 1990’s, Nollywood has become the second largest film industry in the world, producing over 2000 films a year. These films are relatively low budget, thus producing fairly low quality films that are released straight to video, rather than being released in a cinema. This is due to the feeling of insecurity amongst Nollywood audiences, as there is a lack of safety outside of the home.
These films have become vital to the economic and social growth of Nigeria as well as Africa as a whole, as it has become a cultural phenomenon amongst local audiences. While it has not entirely popularized itself outside of Africa, the production themes and characters have become central to the representation of local audiences in cinematic productions. “While there is no doubt that Nollywood exhibits the hybrid character that is obvious in many forms of African popular arts, it is its acute notation of locality that gives it an unprecedented acceptability as the local cinematic expression in Nigeria and indeed in Africa.” (Okome, 2007) The uniqueness of the production of Nollywood films provides a deeper insight to the Nigerian culture than would otherwise be visible in western culture.
These films ultimately generate a sense of community amongst the creators and audiences of Nigerian cinema, thus allowing it to thrive as a film industry.
Okome. O, 2007, ‘Nollywood: Spectatorship, Audience and the Sites of Consumption’, Postcolonial Text, Vol 3, No 2, viewed 4 September 16 < http://postcolonial.univ-paris13.fr/index.php/pct/article/viewFile/763/425>