(Tam Fiofori)--In the early 90s, when Nollywood was less than a decade
old, I had in a three-part study characterised it as “providing instant fame for
the girl and boy next door and instant fortune for a hybrid of producers.”
Nollywood was a phenomenon which in its development had minimal links;
technically, professionally and ethically with the older Nigerian Television
and Celluloid-film industries. It set its own standards, which sadly, were
based on the business ethics of its principal financiers, electronic equipment
traders turned producers/marketers. These basically uncultured traders with
limited education shaped and called the shots in Nollywood, driven by the
desire for huge profits from little financial, aesthetic and cultural
investments.
