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UNIVERSITY OF LAGOS
FACULTY OF SOCIAL SCIENCE
DEPARTMENT OF PUBLIC & INTERNATIONAL AFFAIRS
COURSE TITLE: PIA 811 – INTERNATIONAL COMMUNICATIONS
ASSIGNMENT QUESTION:
“Using some of the theories discussed in this course, critically examine the
assertion that the emergence of Nollywood confirms and/or discredits some of the
theories of international communications”.
SUBMITTED BY
OBANYA ONYEKACHUKWU SERENA
MATRIC NO: 159088088
COURSE LECTURER: DR. I. IBRAHEEM

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INTRODUCTION
As the new millennium dawned, global television tracked the rise of the sun across the world,
with images broadcast live via 300 satellite channels to audiences in each of the world's 24
time zones. At the beginning of the twenty-first century, millions of people can communicate
with each other in real time, across national boundaries and time zones, through voice, text
and pictures, and, increasingly, a combination of all three In a digitally linked globe, the flow
of data across borders has grown exponentially, boosting international commerce, more and
more of which is being conducted through new technologies.
Defined as 'communication that occurs across international borders’ (Fortner,1993:6), the
analysis of international communication has been traditionally concerned with government-
to-government information exchanges, in which a few powerful states dictated the
communication agenda.
International communication as a phenomenon is probably as old as human society itself and
has occurred ever since people have organised themselves in communities and began to
exchange ideas and products (Mowlana 1996; Schoonraad, Bornman and Lesame 2001).
Global communications are profoundly changing how information and culture function in
international relations. The Media over which information travels – telephone, films,
magazines, radio and so on shapes the way ideas take form and spread one place to another.
According to Wikipedia, Films are cultural artifacts created by specific cultures which reflects
those culture and in turn, affect them. Film is considered to be an important art form, a source
of popular method for educating or indoctrinating citizens. The visual elements of cinema
give motion pictures a universal power of communication. Films are the most influential
medium in the society today. Without a word of dialogue, images rendered on a screen can
evoke many different emotional responses.
The thrust of this write is to critically examine that the emergence of Nollywood confirms or
discredits some of the theories of International Communications. Before delving into the
critical examinations, it is of great importance to give a brief history of the emergence of
Nollywood:
EMERGENCE OF NOLLYWOOD
The emergence of the Nigerian Movie Industry (NOLLYWOOD) marked the phenomenal rise
of the industry as a major player in the Nigerian economy and a major stakeholder in the
Nigerian culture industry. Before this era, Nollywood did not really exist. The dramas aired
by the government-owned television stations then were drab and uninspiring. So, the
industry lacked support from stakeholders who have heavily invested in the sector today
(Ekeanyanwu, 2009).
Okoroji (2006), who was at this point the Chairman of Performing and Mechanical Rights
Society (PMRS), observes that before the recent explosion in the production of
cinematograph films in Nigeria, which films are presented on various video formats, different
Nigerians had engaged in movie making with different levels of commercial success. He adds
that it is difficult to forget the pioneering role of the likes of the great Hubert Ogunde who in
the 1970s began the transformation of the Yoruba traveling theatre into the building blocks of

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a Nigerian movie industry. The true birth of Nollywood is traceable to the phenomenal
success of ‘Living in Bondage’ produced by Kenneth Nnebue.
THEORIES OF INTERNATIONAL COMMUNICATION
The below are some important theories of International Communication:
1. Authoritarian Theory;
2. Social Responsibility Theory;
3. Modernisation Theory;
4. Dependency Theory
Authoritarian Theory
This is a normative theory of International communication where the Media is influenced and
overpowered by power and authority of the nation. Government exert direct control over the
mass media thereby prevent the media from undermining government authority. By this, the
Media cannot work independently and their works are susceptible to censorship. This theory
can be related to the Nigerian Movie Industry, it should be noted that there is rarely any
movies by Nollywood that constructively criticise the government of the day. The Nigeria
movie industry seem to be under a gag as they always dance to the tune of the government of
the day through praise-singing during campaign periods, endorsements and so on.
Social Responsibility Theory
This theory states that the Media play a vital role in informing citizens, total freedom of the
media that is regulated according to social responsibilities and external controls. By this,
content is filtered through public obligation and interference. The media must provide:
 analysis,
 explanation
 Interpretation
At present, Nollywood cannot boast of practising this theory as its content are solely decided
by the Directors, Producers, Script Writers and Film Makers. This is so unlike its Western
counterparts who seek public opinion about their movies and the public is given the
opportunity to suggest how the movie should go via opinion polls (especially their seasonal
movies and TV series).
Modernisation Theory
Modernisation theory emerged during a period when it was very important for the West to
bring the newly independent nations of Asia, the Middle East and Africa into the sphere of
capitalism (Ayish 2005; Thussu 2000). The paradigm is founded on the notion that
international mass communication should become the vehicle for spreading the message
of modernity, transferring Western economic and political models and transforming and
modernising traditional societies. “Modernisation” or “development theory” as this pro-
media bias is called, has been highly influential and research based on the paradigm
not only served to shape university communication programmes and research centres,
but have also been generously supported by UNESCO and other international organisations.

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Form this theory, it can be said that the emergence of Nollywood have helped in a way to
modernise Nigeria as a nation. The advent of Nollywood has helped a whole lot in promoting
globalisation in Nigeria through its films, soap operas, drama and stages performances.
Dependency Theory
With an origin in Latin America during the 1960s, the dependency theorists believe that the
world should be analysed in terms of a “centre” –mainly Western countries such as the USA
and Western Europe – and the “periphery” which encompasses the poor countries of the
world such as those from Africa who have recently emerged from colonialism, but remain
“dependent” in various ways on the rich Western countries. The lack of development of the
periphery is ascribed to historical and current forms of colonialism and exploitation through
institutions and companies – especially Transnational Companies (TNCs) – in the centre.
This theory is essentially relevant to the emergence of Nollywood as The Nigeria Movie
Industry is entirely dependent on the Western Countries and have been trying to imitate the
style of filming and movie shoots. This, I think it is a welcome idea but there should be a
balance in between. The Nigerian Movie Industry (Nollywood) is still far behind technology
wise and are completely reliant on the western technology. However, in my opinion,
Nollywood should try as much as possible to preserve the Nigerian cultural values, norms,
and belief system by filming more movies such as “OCTOBER 1”, “FIGURINE’’ and so on..
CONCLUSION
From the foregoing, it can be stated that Nigeria’s image abroad is that of corruption, crime,
electoral manipulations and abject poverty. Our movies more often than not portrays ritual
killings, African Magic and Voodoos and this portrays us more in a bad light in the
international setting. We need to re-evaluate our movies and check the way we showcase our
value system in our films. We must be clear and certain in what we say or do and in what we
support or do not support. Projecting a good national image through cultural diplomacy will
eventually enhance our acceptability in the international arena, fast-track our vision and
progress as a nation and add immense value to our Society.
The Nigerian Movie Industry should promote and make movies such as ‘Twelve years a Slave’;
‘Blood Diamond’; ‘Hotel Rwanda’ e.t.c. A movie on the Bring Back Our Girls can be done not the
whacked typical Nollywood movie but something with advanced technological innovation
We can use our films to talk to the world citizens and explain the true position of things, even
to our fellow Nigerians in diaspora who are afraid to come back home to visit or to come and
invest in the economy. Through our movies, intending tourist will learn to disregard ‘Travel
Advisories’ pasted in their airports warning them about travelling to Nigeria.
REFERENCES
Daya Thussu, (2000), International Communication: Continuity and Change
Developmental Imperatives PDF
International Communication: Shifting paradigms, theories and foci of interest, PDF

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Nollywood and Nigeria's Indigenous Cultural Values: The
www.naijastories.com