Nollywood Stars: Media and Migration in West Africa and the Diaspora

By Noah A. Tsika | Go to book overview

NOTES

INTRODUCTION
1. Quoted in Ahluwalia, Politics and Postcolonial Theory, 23.
2. For more on this initiative, see Connor Ryan, “Nollywood and the Limits of Informality,” 181–83.
3. Stam and Shohat, Unthinking Eurocentrism, 17.
4. Diawara, African Cinema, viii.
5. Larkin, Signal and Noise, 222.
6. Quoted in Ukadike, Black African Cinema, 144–145.
7. Ibid., 144–145.
8. Ibid., 145.
9. Ebony, “‘Countdown at Kusini,’” 94.
10. Barber, “Popular Arts in Africa,” 23.
11. Jedlowski, “From Nollywood to Nollyworld,” 31.
12. Haynes, “The Nollywood Diaspora,” 88.
13. Mbembe, On the Postcolony, 102.
14. In posing this question, I am obviously indebted to Brian Larkin, who, in Signal and Noise, asks “what a theory of media would look like if it began from Nigeria rather than Europe or the United States,” 253.
15. In Multiculturalism, Postcoloniality, and Transnational Media, 7.
16. Adesokan, “Nollywood: Outline of a Trans-ethnic Practice,” 116–117.
17. Ibid., 121–22.
18. Soyinka-Airewele, “Insurgent Transnational Conversations in Nigeria’s ‘Nollywood’ Cinema,” 1 17.
19. Ibid., 113–14.
20. Fuss, Essentially Speaking, 1.
21. Bryce, “Elmina: Obroni Art or Popular Melodrama,” 139.
22. Tariq Modood, “Anti-Essentialism, Multiculturalism, and the ‘Recognition’ of Religious Groups,” 179. Hall quoted on 179.
23. Corliss, “Omotola Jalade-Ekeinde.”

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