The Road To Mountain of Fire and Miracles Church in Onike in Lagos

The Road To Mountain of Fire and Miracles Church in Onike in Lagos

A scene from the first phase of the principal photography of my on going documentary film, "Lagos in Motion" in 2016.

The camera is the narrator of the documentary on the sights and sounds of the largest megacity in Africa.

I have shot more than 40 hours so far and now on the final phase to complete the production.

I have not borrowed and have not applied for any funds for the production since 2016 to date.

I have spent my personal incomes and I have paid my crew and all the young tourists featured in the documentary film, including Nollywood actresses, Nunnsi Ojong, Celina Ideh and campus beauty queen, Franca Aide who  are graduates of the University of Calabar in Cross River State; fast rising actress, Magdalena Masha and model Cynthia Agu who is now in Poland. My black and beautiful production assistant, Chibuzor Okoro, my younger brother, Franklin UcheChukwu Eke, my friend, Tony Godson Uche Okeke and my production manager, Felix Omokagbo Jegede featured in the documentary film.

The principal cameraman Adesina Mutiu-Okediran used Sony FS 100 and I also used my own Sony digital camera for some of the shots. I shot this scene alone.

- Ekenyerengozi Michael Chima

#lagos

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#africa

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#narrator

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Not Every Indian Film is Bollywood and Not Every Nigerian Movie is Nollywood

  

Not Every Indian Film is Bollywood and Not Every Nigerian Movie is Nollywood

Bollywood and Nollywood have been called the first and second largest film industries in the world for the production of the largest quantities of movies.

Bollywood is generally labelled as the Indian film industry. But it is not the overall representative of the film industry of India, because there is Tollywood, the popular Telugu film industry of Telugu language based in the states of Andhra Pradesh and Telangana in southeast India. Bollywood, the Hindi language Cinema is based in the city of Mumbai (formerly Bombay).

Tollywood was first coined before Bollywood and has a filmmaking history of over 100 years since 1909 when the Father of Telugu Cinema, Raghupathi Venkaiah Naidu produced short films and showed them in different regions of South Asia and he built the first Indian-owned cinema halls in South India in 1921.

Tollywood is the second largest film industry in India by box-office revenue after Bollywood. And Tollywood films sold 233 million tickets in 2022, the highest among all Indian film industries. As of 2023, Andhra Pradesh has the highest number of movie screens in India.

The boisterous Telugu film industry has several Guinness World Records such as the Ramoji Film City, which holds the Guinness World Record as the largest film studio complex in the world.

The second highest grossing Indian film so far, is "Baahubali 2: The Conclusion", a 2017 Tollywood epic action film directed by S. S. Rajamouli following the current highest grossing Indian film "Dangal"  a 2016 Bollywood biographical sports drama film directed by Nitesh Tiwari and produced by Aamir Khan and Kiran Rao.

I have written on the significance of the difference between Bollywood and Tollywood before on my Nigerians Report Online on Blogger.

Like Bollywood, Nollywood has been termed as the sobriquet of the Nigerian film industry since the name was coined by The New York Times in 2002. But the name Kannywood for the Hausa language film industry based in Kano was coined in 1999 before the The New York Times discovered Nollywood and said "it is like Hollywood" with starry-eyed guerilla filmmakers making dozens of movies daily from bootstraps budgets. All the movies were shot straight to video from handheld VHS cameras and sold in VHS tapes on the streets and stalls of Lagos and Onitsha before distribution to other countries across the borders to start the first indie film industry in Africa. 

While Nollywood is largely based in the predominantly Christian

southern region of Nigeria, Kannywood is based in the predominantly Islamic northern region of Nigeria.

Adamu Halilu, the Father of Hausa language Cinema was the first Nigerian indigenous filmmaker with the documentaries, "It Pays to Care" (1955) and "Hausa Village" (1958) and later made the classic film, Shaihu Umar (1976), a story of African slavery based on the novel of the same name by Abubakar Tafawa Balewa, first Prime Minister of Nigeria.

The first Hausa language home video, "Tirmin Danya " was produced in 1990 in Kano.

 The National Film and Video Censorship Board, (NFVCB) Abuja, started recording and censoring video films in Nigeria from 1995, and a total of 1600 Hausa video films were officially documented between 1995 and 2005.

Majority of the foreign film critics, journalists and scholars who claimed to be experts ignored Kannywood in their reports, features and books on the Nigerian film industry.  Both Nigerian and foreign scholars have done comprehensive researches and published books on Kannywood. The most popular are Dr. Idi Adam; Dr. Abdulkareem Abdulrahman; Dr. Muhammad Muhsin Ibrahim;

Dr. Carmen McCain; Prof. Brian Larkin and Dr. Mahmoud Nourah Bamalli.

Queen of Nollywood, Genevieve Nnaji.

Joint Queen of Nollywood, Omotola Jalade-Ekeinde 

Queen of Kannywood, Rahama Sadau.

Alpha Male Nollywood actor, Enyinna Nwigwe.

My NOLLYWOOD MIRROR® Series is the first publication that has celebrated the beautiful queens of Kannywood on the same pedestal as the beautiful queens of Nollywood in the second edition published in 2014 and distributed by Amazon, Barnes and Noble and other booksellers in hardcover version, paperback version and Amazon Kindle version.

Ike Ude's photo book, "Nollywood: Radical Beauty" ignored the stars of Kannywood. 

The big problem of Kannywood is being under the dictatorship of the Islamic religion with majority of the actors, actresses and filmmakers being Muslims.

They are monitored by the Islamic police of Kano State and the other Sharia states in northern Nigeria with several cases of the violations of their fundamental human rights even in their private lives. 

Nollywood Alpha Male actor Enyinna Nwigwe can hug and kiss the Queens of Nollywood, Genevieve Nnaji and Omotola Jalade-Ekeinde in a romantic movie, but he cannot even dare to hug and kiss Rahama Sadau, the Queen of Kannywood on screen without incurring the wrath of the Islamic watchdogs of Kannywood.

-By Ekenyerengozi Michael Chima,
International Digital Post Network Limited,
King of Kings Books International,
Screen Outdoor Open Air Cinema (SOOAC)

Publisher/Editor,

NOLLYWOOD MIRROR® Series,

The first book series on Nollywood and the Nigerian film industry

https://www.amazon.com/author/ekenyerengozimichaelchima
https://www.linkedin.com/in/michaelchimaeyerengozi
New Nigeria
www.pinterest.com/nigeriansreport

COMING SOON

The First Annual Bollywood To Nollywood Filmmaking Workshops

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The Road Map for the Nominations for the Annual Academy Awards for Nigerian Filmmakers

The Road Map for the Nominations for the Annual Academy Awards for Nigerian Filmmakers

There is a Road Map for the Nominations for the annual Academy Awards of the Academy of Motion Picture Arts and Sciences (AMPAS) and the route is common knowledge to those who truly know the criteria for filmmaking of international standards in the quality of the content and context of filmmaking and the benchmarks of the most coveted international awards and prizes for filmmaking.

Making the nominations for the almighty Oscars from the long list to the short list is beyond the mere selections of the official entries for different countries in the competition for the Best International Feature Film Category of the Academy Awards which is the most competitive, because of the challenges of competing with the best filmmakers from other countries you may not know their works.

In my own opinion, any film that has not made the Official Selections for the annual Cannes Film Festival, Venice International Film Festival, Toronto International Film Festival, Berlin International Film Festival and Sundance Film Festival should not be the official selection of Nigeria for the Best International Feature Film Category of the Academy Awards. Because in the history of the Oscars,most of the nominees and winners were in the Official Selections of the most highly esteemed and highest ranking international film festivals as I have listed them above. And only the majority of them that won the Palme d'Or of the Cannes Film Festival, Golden Lion and Silver Lion of the Venice International Film Festival, Audience Award of the Toronto International Film Festival, Golden or Silver Bear of the Berlin International Film Festival and Best Feature Film at the Sundance Film Festival made the nominees and winners of the Oscars. 

Any Nigerian filmmaker who cannot or has not competed for the best international awards in the global film industry should not be considered for the representation of the Official Selection of the entry for the Best International Feature Film Category of the Oscars.

Only the best should represent Nigeria, because only the best is good enough for us.

Nigerian filmmakers have not even won the prizes for the Best Feature Film at the annual Durban International Film Festival of South Africa, the highest ranking international film festival in Africa and only one Nigerian filmmaker, Newton Aduaka has won the Étalon d'or de Yennenga" (Golden Stallion of Yennenga) at the Ouagadougou Panafrican Film and Television Festival (FESPACO) for his critically acclaimed film, "Ezra" in 2007. 

The problem of Nigerian filmmakers is the fact that they don't like being told the truth and when you tell them the truth, they become upset and even stop communicating with you in their unprofessional and unintellectual attitudes. But the fact is majority of them don't even know that filmmaking is not for those who are intellectually challenged, because the Art of Filmmaking is beyond the mere craft of shooting a movie.

Majority of the filmmakers in Nigeria don't know what is Art Direction and many of them have not studied Production Design.

Many of them don't know what is the aspect ratio of a movie for the cinema and most of them don't know what is a shooting ratio.

They don't even know how to use lighting for storytelling; costume for storytelling; the nuances of

characterisation and music for storytelling in filmmaking.

I have advised the film schools in Nigeria to use nominees and winners of the Oscars for case studies in filmmaking to teach their students on how and why the nominees and winners got the nominations and won the Oscars.

The  Nigerian Official Selection Committee (NOSC) for the Oscars  should know that to make the nominations for the Oscars is more than the mere selection of the official entry.

Is there a budget for the promotion of the selected film?

Promotion for reviews in the highly esteemed and rated international news media such as the New York Times, Hollywood Reporter, Deadline Hollywood, Indiewire, Screen International, CNN, BBC and Underurrents of the  International Federation of Film Critics (FIPRESCI)

Read How Much Does It Cost To Win An Oscar? - BBC News

Just two of the most high-profile attempts to influence what must be the most select group of voters on the planet, the 6,000 members of the Academy of Motion Picture Arts and Sciences. Estimates for the total amount Hollywood spends on Oscar campaigns range from $100m right up to $500m in a single year.23 Feb 2016

https://www.bbc.com › news › ent...

How much does it cost to win an Oscar? - BBC News

https://www.bbc.com/news/entertainment-arts-35613630

By Ekenyerengozi Michael Chima,

The Publisher/Editor,

NOLLYWOOD MIRROR® Series,

The first book series on Nollywood and the Nigerian film industry.

Founder/CEO,

International Digital Post Network Limited,

Screen Outdoor Open Air Cinema (SOOAC),

Affiliate Partner, Cinewav of Singapore

Content Development Strategy and Content Marketing Strategy for Film Production, Acquisition and Distribution for Nollywood

 

Content Development Strategy and Content Marketing Strategy for Film Production, Acquisition and Distribution for Nollywood

There is no film production without preproduction of which the most important components are research and development of the film project, script development and recce.

For example, I spent four years on the location for the script development of "Naked Beauty". I have completed the research and development during the recce on Bonny Island in Rivers State before the accomplished multiple awards winning Nollywood filmmaker and film studies scholar, Dr. Chika Christian Onu came to visit me where I was staying in the Residential Area 1 of the Nigeria LNG Limited. And we coauthored the screenplay which I published the book as a case study for screenwriting for film production in Nigeria. It was printed in Raleigh, North Carolina, United States of America.

The content development included development of the principal characters in the drama based on the people in Agaja village on Bonny Island.

Naked Beauty is available on 

https://www.lulu.com/fr/shop/michael-chima-ekenyerengozi-and-christian-chika-onu/naked-beauty/paperback/product-453339.html

Research and development of the screenplay comes first in preproduction of a film for television or the cinema.

What is Content Development Strategy?

Research on the kind of content you want to produce; the genre and the target audience.

Whether it is a movie, documentary or music video.

What kind of content will attract your target audience.

Your target audience should decide the kind of content you want to produce.

Do surveys for the needs assessment of your target audience.

What kind of entertainment they want.

Your content must connect with the target audience.

You cannot communicate with someone you cannot connect to or with.

There is no communication without connection.

You have to speak to the target audience in their own means of communication; in their most common language.

This is when you have to use content localization for the best interests of your target audience wherever they are located.

The details of the rest are common knowledge of the culture and haute couture of the target audience.

Beware of tribal and religious taboos.

Appreciate and respect the peculiarities of the personalities of the target audience.

Don't provoke them with what you have written in the screenplay as shown on the screen.

Common sense is enough to know that you don't show people eating pork with relish to Muslims.

Avoid heresy. 

You have to produce what appeals to them.

Your story and the characters must have characteristics they are familiar with; people they can relate with in their society.

Your content must resonate with them on their lives and lifestyles in the events and incidents in the story.

A good filmmaker should be a good storyteller.

The success of storytelling depends on planning.

You must have a plan.

What's the subject on?

What is the purpose?

The conclusion and resolution of conflict in your story.

Planning is like weaving in cloth making. 

You must know how to spin your yarn so that you don't spin your wheels in the long run.

Content Marketing Strategy

You must have a content marketing strategy.

The most successful filmmaker in Nollywood, Funke Akindele is the best case study in both content development strategy and content marketing strategy in the Nigerian film industry.

Funke Akindele

Funke's comic character of "Jenifa" was based on research and development of the personality of the semi literate Yoruba village girl who speaks her own peculiar form of Pidgin English in both coherent and incoherent speech. She is an impressionable and vulnerable naive young woman who is desperate to improve her life no matter the odds against her in the boisterous city of Lagos in order to get a proper education to fulfill her ambition in the highly competitive Nigerian society.

From the making of the iconic comic character of "Jenifa" for the cinema to the TV series of "Jenifa's Diary" and to the making of her Nollywood Blockbuster, "A Tribe Called Judah" (partly based on the true life experiences of her mother), Funke Akindele has shown the successful route of content development strategy and content marketing strategy. 

She is currently the highest grossing filmmaker in the Nigerian film industry with a total Gross of over ₦2.9 billion from the box office.

I told my younger sister who is one of the millions of her fans, that I can commission Funke Akindele to produce my proposed romantic comedy, "Omo Naija in London" and be rest assured of the box office success. 

- By Ekenyerengozi Michael Chima,

The Publisher/Editor,

NOLLYWOOD MIRROR® Series,

The first book series on Nollywood and the Nigerian film industry.

Nigerian Filmmakers: Beyond Nollywood, Beyond Netflix

Nigerian Filmmakers: Beyond Nollywood, Beyond Netflix

TV is not Cinema and Cinema is not TV.

- Ekenyerengozi Michael Chima

Nigerian filmmakers must capture the big picture of the future of Nollywood.

Majority of the filmmakers in Nigeria should know and understand the importance and significance of Art Direction and Production Design in filmmaking. 

Many of them don't even know the definition of Art Direction.

There is no filmmaking without Art Direction.

Netflix in Nigeria: It is No Longer Nollywood As Usual

The filmmakers in both Nollywood and Kennywood must now be more adventurous and ambitious in the content and context of filmmaking beyond mere narrative storytelling.

Any dummy can play guitar. 

But any dummy cannot be Carlos Santana or Sir Victor Uwaifo.

Nigerian filmmakers are still using having their movies on Netflix for bragging rights when none of them has made the official selections of the most competitive and prestigious international film festivals in the world after decades of making movies.

We are still waiting for them to be in the official selections for the Cannes Film Festival, Venice Film Festival, Toronto Film Festival and compete with the best filmmakers in the world and not competing against themselves in Nigeria.

They have been making movies even before C.J Obasi got his GCE and he has gone ahead of them to win coveted awards at the Sundance Film Festival, FESPACO and other esteemed international film festivals where they have failed to make the official selections or failed to win any prize.

The future of Nollywood is bigger than Netflix.

Beauty is more than having a pretty face.

99.99 percent of the biracial actresses in Nollywood can't act.

Three of them are annoyingly amateurish.

They have been featured in movies just for having a pretty face by intellectually challenged filmmakers in Nollywood who think having white looking Bimbos in their movies will attract more viewers and moviegoers.

Having a pretty face and being photogenic can attract filmmakers, but acting begins with learning how to act and not pretending to act when you don't know how to act.

We are two years to the epoch of 100 years of filmmaking in Nigeria. But I doubt if the Federal Ministry of Art, Culture and the Creative Economy had a clue until I have mentioned it.

How much have we achieved in a century of Nigerian Cinema?

What are milestones in the history of filmmaking in Nigeria since the production of the first feature film, "Palaver" in 1926 by the Academy Award winning English filmmaker, Geoffrey Barkas?

The making of "Palaver" was published in the second edition of the NOLLYWOOD MIRROR® Series in 2014.

- By Ekenyerengozi Michael Chima,

The Publisher/Editor,

NOLLYWOOD MIRROR® Series,

The first book series on Nollywood and the Nigerian film industry.

The Cinematographer

In the beginning The Cinematographer came to us in the cloak of black and white and we gazed spellbound in awe of the cinematic universe.

The Cinematographer 

- by  Ekenyerengozi Michael Chima, an NFT art to be up for exhibition and auction on Opensea and Artprice before Christmas.

This is the final part of The Cinematographer in total abstract of the same image.

The Cinematographer is going to attract many bidders when it is up for exhibition and auction. Because, it really an awesome of genius. A unique masterpiece of artwork in celebration of the cinematographer that has never been done before in such magnificence in the history of Fine Arts and NFTs. 

Please, if you have seen a better artwork celebrating the cinematographer before this one, let me know.

To me, it is priceless like my "Signature of God" on. the Algorand blockchain.

This is a special artwork in honour of cinematographers in film and TV productions. 

They are the painters on whose painters on whose palette the art of storytelling in motion picture is made. 

You cannot capture any image in motion picture without a cinematographer. 

Imagine a painting without colours.

Imagine a cart moving without a donkey or horse.

Imagine car without an engine.

Imagine a life without a soul.

Then imagine a film or TV production without the  cinematographer.

There is no creation without the creator. 

The Cinematographer is the painter of the painting on the canvas.

A director without a cinematographer is like driver driving a car without engine.

- By EKENYERENGOZI Michael Chima.

© All rights reserved. No copying, duplication and reproduction of any part of this content in any format of media without the authorization and permission of Ekenyerengozi Michael Chima and International Digital Post Network Limited.

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When the So Called Masterclass is not a Masterclass

When the So Called Masterclass is Not a Masterclass

"What makes a work of art a masterpiece is not the craft.
But the Imagination of the artist."
- Ekenyerengozi MichaeI Chima.

Some years ago, I was invited to participate in a Masterclass on  Documentary Filmmaking by the Public Affairs Section of the Consulate of the United States of America in Lagos in the Documentary Showcase Program with American documentary filmmakers. Prominent Nigerian filmmakers in Nollywood were also invited. But the workshop was rushed by the American filmmaker teaching what was nothing new or different, but documentary filmmaking for beginners and what the Nigerian filmmakers already knew. He was teaching us what students in high school were taught in America.

Then the workshop ended abruptly without the completion of the most important sessions.

The American filmmaker started  the presentation of Masterclass  certificates to all the participants. But I refused to accept my own certificate with my name already written on it.

"We never had any masterclass on documentary filmmaking," I said.

The others were compelling me to accept it. I reluctantly collected it. But I dumped it later in the drawer of my desk in the office of Supple Communications Limited.

Finis.

#art

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#documentary

#documentaryfilm

#showcase

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#presentation

#certificate

#office

RECOMMENDED BOOKS BY EKENYERENGOZI MICHAEI CHIMA

Available on Amazon, Barnes and Noble and other booksellers.