Cinema business flourished in Lagos, Nigeria from 1903 through the 1970s-80s, providing entertainment and employment. Lagos had over 40 cinema houses at its peak. While the economy and home video industry later caused declines, cinemas were previously an important social and economic aspect of Lagos. The document examines the history of cinema business in Lagos, including its rise during colonial times with the first films shown in 1903, the establishment of commercial cinema houses in the 1930s-40s, and the factors behind its later decline.
The document summarizes the history of Singapore from its founding in the colonial period to pre-independence. It discusses how [1] Stamford Raffles established Singapore's infrastructure and transformed it from a jungle into a colonial outpost and trading port, [2] how town planners catered to needs through providing housing, supplies, transportation, education, and healthcare, and [3] how the Urban Redevelopment Authority has made Singapore more distinctive through conservation efforts and balancing economic development with social needs.
This document provides a business plan proposal for a Luxury Cinema concept to be launched within an existing cinema, Cinemaxx, in Aarhus, Denmark. The Luxury Cinema would offer an enhanced movie-going experience with reclining chairs, food/drink service, and an exclusive bathroom. It aims to target younger, higher-income customers seeking an entertaining escape and aesthetic experience beyond regular cinemas. The plan discusses generating revenue, service offerings, movie selections, target markets, competition, risks, feasibility, and expected returns. The Luxury Cinema concept seeks to differentiate the experience and attract customers in the competitive Danish cinema market.
Zara is a major global fashion retailer owned by Inditex. It currently operates 1,600 stores in 77 countries and generates over $7 billion in annual sales. This marketing plan aims to grow Zara's online business by improving the online shopping experience and expanding its digital presence internationally, especially in key markets like the US and China. The plan sets objectives to increase Zara's global online traffic ranking and sales over the next two years. It also outlines strategies for segmenting the online target market, differentiating Zara's online offering, and using promotion and social media to attract new online customers worldwide.
The daily lesson plan summarizes a 45-minute lesson for 7th form students on cinema. The lesson has four parts: 1) Greeting and motivation by showing a movie clip mashup and asking discussion questions; 2) Information presentation on connections between movie-related words and showing a movie trailer; 3) Grammar practice by ordering sentences from the trailer and reporting sentences; 4) Application by having students fill out riddle slips about movies to have other students guess. The lesson aims to review reported speech grammar, teach how cinema is used in education, and practice film genres and themes.
The Falmouth Cinema Pub is located at 137 Teaticket Hwy Box 1612 and is 20,000 square feet. It has a sprinkler system and alarm. The building is a public assembly occupancy made of protected non-combustible Type II A construction. The Falmouth Fire Department has pre-planned for response to the building. It has multiple exits on all sides of the building and a fire department connection.
This document summarizes the marketing plan for Waylife Global Sdn Bhd, a Malaysian company with existing conventional businesses generating RM200 million annually. It offers membership packages from Classic to Platinum priced from RM180 to RM4500. Members earn bonuses and commissions from sponsoring others and a binary pay plan. The Classic package costs RM180 and provides products worth with matching bonuses up to RM500,000 through 15 dynamic levels. It encourages joining to generate income and passive income with just a small starting capital.
The document outlines the production schedule for a new music magazine to be launched on November 5th 2014. Over several weeks, the key tasks included choosing a launch date, creating a production schedule, developing a budget, experimenting with design elements like the masthead, sorting content, planning photos and advertising, finalizing the overall design, selecting a cover star, arranging an interview and photo shoot with the cover star, proofreading all content, and printing and distributing the final magazine. The goal was to have the first issue of the new magazine completed by November 3rd.
The document summarizes the history of Singapore from its founding in the colonial period to pre-independence. It discusses how [1] Stamford Raffles established Singapore's infrastructure and transformed it from a jungle into a colonial outpost and trading port, [2] how town planners catered to needs through providing housing, supplies, transportation, education, and healthcare, and [3] how the Urban Redevelopment Authority has made Singapore more distinctive through conservation efforts and balancing economic development with social needs.
This document provides a business plan proposal for a Luxury Cinema concept to be launched within an existing cinema, Cinemaxx, in Aarhus, Denmark. The Luxury Cinema would offer an enhanced movie-going experience with reclining chairs, food/drink service, and an exclusive bathroom. It aims to target younger, higher-income customers seeking an entertaining escape and aesthetic experience beyond regular cinemas. The plan discusses generating revenue, service offerings, movie selections, target markets, competition, risks, feasibility, and expected returns. The Luxury Cinema concept seeks to differentiate the experience and attract customers in the competitive Danish cinema market.
Zara is a major global fashion retailer owned by Inditex. It currently operates 1,600 stores in 77 countries and generates over $7 billion in annual sales. This marketing plan aims to grow Zara's online business by improving the online shopping experience and expanding its digital presence internationally, especially in key markets like the US and China. The plan sets objectives to increase Zara's global online traffic ranking and sales over the next two years. It also outlines strategies for segmenting the online target market, differentiating Zara's online offering, and using promotion and social media to attract new online customers worldwide.
The daily lesson plan summarizes a 45-minute lesson for 7th form students on cinema. The lesson has four parts: 1) Greeting and motivation by showing a movie clip mashup and asking discussion questions; 2) Information presentation on connections between movie-related words and showing a movie trailer; 3) Grammar practice by ordering sentences from the trailer and reporting sentences; 4) Application by having students fill out riddle slips about movies to have other students guess. The lesson aims to review reported speech grammar, teach how cinema is used in education, and practice film genres and themes.
The Falmouth Cinema Pub is located at 137 Teaticket Hwy Box 1612 and is 20,000 square feet. It has a sprinkler system and alarm. The building is a public assembly occupancy made of protected non-combustible Type II A construction. The Falmouth Fire Department has pre-planned for response to the building. It has multiple exits on all sides of the building and a fire department connection.
This document summarizes the marketing plan for Waylife Global Sdn Bhd, a Malaysian company with existing conventional businesses generating RM200 million annually. It offers membership packages from Classic to Platinum priced from RM180 to RM4500. Members earn bonuses and commissions from sponsoring others and a binary pay plan. The Classic package costs RM180 and provides products worth with matching bonuses up to RM500,000 through 15 dynamic levels. It encourages joining to generate income and passive income with just a small starting capital.
The document outlines the production schedule for a new music magazine to be launched on November 5th 2014. Over several weeks, the key tasks included choosing a launch date, creating a production schedule, developing a budget, experimenting with design elements like the masthead, sorting content, planning photos and advertising, finalizing the overall design, selecting a cover star, arranging an interview and photo shoot with the cover star, proofreading all content, and printing and distributing the final magazine. The goal was to have the first issue of the new magazine completed by November 3rd.
The production plan outlines a cinema scene to be filmed in a college theatre made to look like a cinema with projection on the backdrop and seating. It involves three characters - a wife, an artist, and husband. The wife and husband will be casually dressed while the artist will be dressed all in white. Props of popcorn will be provided to the characters to hold for realism during the scene.
The document discusses visiting a shopping mall with family. It notes that there are many items for sale, especially for kids, and places where kids can play while their parents shop. While shopping malls offer a wide selection, it can be difficult to remember all the items one intended to purchase. The document encourages enjoying life's blessings and moments of rest.
Mobile App for Movie Ticket Booking ScreenshotsIniya Kannan
The document describes a mobile app called Yozwa that was created by Iniya to allow users to book movie tickets. Yozwa allows users to search for movies playing in their area by name, language, and venue. For the movie Thuppaki playing in Tamil at the Maha Rani venue, the user can see available showtimes and purchase tickets.
The document outlines a software development project timeline by Soft-Touch Group to create a cinema booking application between November 1-25. It details the requirement analyst, designer, coder, tester, and maintainer assigned and breaks down the project into requirement analysis, design, coding, testing, and completion phases. Features of the prototype include login, software outlook, file handling, and functions for booking, storing, retrieving, and deleting tickets and searching or viewing total income. The project aims to automate cinema booking and management for ease of use, security, and reduced manual work.
As HCM has many shopping malls existing for the moment, people in this area tend to come here more often and have many different type of activities. Let's figure out which shopping malls are popular now and what people often do there with Q&Me.
Retail trade area analysis through the application of East Massachusetts geodemographic classification. Different approaches of trade area evaluation were applied and compared. Trade areas of two mall were assessed and compare as well.
The document presents a software requirements specification for an online movie ticketing system for Starmall Cinema that will allow users to purchase tickets online, see movie times and trailers, and provide customer feedback. It describes the purpose, scope, users, functions, and design of the system. The system will be a web-based application developed using programming languages like PHP and JavaScript and a MySQL database.
2nd Shopping Center Planning &Management Seminar was organised by Maad Retail Studies Center in tehran, Iran, 21-22 October 2013. Participants were top development companies from Iran. The seminar was a successful contribution to the development of the shopping center industry in İran.
PROJECT IN DETAIL
Skopje City Mall located in Skopje the capital city of Macedonia is going to be first modern shopping mall in the region. With the ground breaking ceremony held 19th December 2010 and the construction in progress the opening is scheduled for September 2012.
The investment of 80 million Euros is the vision of Balfin MK, a joint venture company between Fashion Group, a leading business group in Macedonia and Balfin, a leading business group in Albania.
The development is supported by European Bank for Reconstruction and Development.
This document describes an online movie ticket booking website created using ASP.NET with C Sharp. It details the objectives, tools and languages used including Visual Studio, HTML, CSS, JavaScript and ASP.NET. Features for customers include registering, exploring movies, selecting seats and timing, using a cart for payment and receiving e-tickets. Administrators can add and remove movie details. The document also discusses future improvements, limitations and concludes the project was successfully developed with a user-friendly interface for both customers and administrators.
architectural case study on City Center Mall, Banjara Hills , Hyderabad. #casestudy,#architecture,#mall,#literaturestudy,#citycenter,#hyderabad,#architectural
This document is a synopsis for a term paper on the impact of shopping malls in small towns on consumer behavior. It will examine how the introduction of shopping malls has changed consumer shopping patterns and decision making in small towns. The synopsis outlines the objectives of understanding how consumer mindsets have changed regarding malls and the impact of demographics on purchases. It also discusses the research methodology, which will include a survey and analysis of primary and secondary data sources to understand consumer experiences and challenges with malls.
Nigerian video Industry paper - Pete TidemannAndrea Quaranta
The Nigerian video industry developed out of cultural productions like the Yoruba Travelling Theatre tradition and has become an important part of popular culture across West Africa and the diaspora. It began with filmed performances of the Travelling Theatre but later emancipated into its own video genre. The Yoruba video industry in particular centered around Lagos and produced genres like juju films and comedies. The Hausa video industry in Northern Nigeria also grew out of cultural forms like drama clubs and popular literature and has been influenced by Indian films which were already popular there. Both industries have become economically significant and reflect social and political issues in Nigeria through their storytelling while also entertaining mass audiences.
A Brief Overview Of Ethiopian Film History.pdfKaren Benoit
This document provides an overview of Ethiopian film history from its introduction in the late 19th century to the contemporary period. It discusses how film was first introduced during Emperor Menelik II's reign in the 1890s but faced resistance from the clergy. The first public screening was in 1909-1910. Early films focused on the royal family. During the Italian occupation from 1936-1941, Italians used film for propaganda. Under the communist Derg regime from 1974-1991, film production was nationalized and censorship increased. However, some notable films like "Harvest Three Thousand Years" were produced. The contemporary film industry is growing after a long period of instability.
Experience of Diasporic Nigerians watching Nollywood Films - ADEKUNLE DETOK...Michael Olafusi
This document summarizes a research paper about the experience of Nigerians in the diaspora watching Nollywood films. The researcher conducted interviews and focus groups with 22 Nigerian-Londoners of Yoruba ethnicity in southeast London. Key findings included that watching the films reminded participants of home and gave them a sense of belonging, as the hairstyles, clothing, and traditional costumes were familiar. Participants also enjoyed elements of the films like incantations and verbal expressions. The researcher concludes that cultural influences remain important for migrant communities, and watching these films helps relieve nostalgic feelings for home.
An historical appraisal of nigerian democratic experienceAlexander Decker
This document provides an historical appraisal of Nigerian democratic experience from pre-colonial times to independence in 1960. It discusses the indigenous democratic tenets that existed in the different political systems across Nigeria prior to colonial rule. It then examines the introduction of electoral politics by the British colonial administration and the emergence of political parties. Finally, it analyzes the political trends and failures in Nigeria since independence, including regional divisions, military coups, and the civil war.
The document discusses the changing phases of world cinema from its origins to modern globalization. It begins by describing how the Lumiere brothers' invention of cinema brought moving images from region to region. It then outlines five phases of world cinema: Cosmopolitan, National, Federated, World, and Global. Later phases saw cinema become more transnational as technologies like video allowed for swift global distribution. The essay explores how cinema both reflected and shaped national and international connections and negotiations across its historical development.
The document provides an overview of Japanese culture and history by comparing it to England. It discusses Japan's isolated island history and the influence of Shintoism and Buddhism on its culture. The document also examines Japan's strict social hierarchy under the samurai class, its xenophobic tendencies and wartime atrocities. Additionally, it explores aspects of modern Japanese culture like youth trends, education system, and language. The capital city of Tokyo is highlighted as a diverse region with unique districts and a vibrant youth culture centered around idols.
After the independence of Tanganyika in1961 and its unification with Zanzibar to form Tanzania in 1964, Bongo movie artists in Tanzania have increasingly been using more English in Kiswahili movies than before. This paper sought to describe this new trend. Specifically, it highlights evidence and describes the motivations and impacts of the change. The study was conducted in Dar es Salam city involving movies acted before and after 1961 to 2013. The study involved spectators, actors and actresses, producers, directors and distributors. Data were collected through documentary review and interview methods, and were analysed descriptively and comparatively. Many factors have been realised to contribute to this change. However, they can be mainly categorised into psychological, cultural and economic factors, which all are a result of socio-cultural and economic changes which have been taking place in the country since1980s. Besides, it is revealed that the change has mainly impacted in deconstruction of Tanzanians’ identity and economic gains to key Bongo movie stakeholders. The study has revealed further that the change deconstructs our identity as a nation because the country remains half-caste in film industry, since there is no clear cut between Tanzanian and Nigerian movies. Therefore, the government is urged through the National Films Censorship Board, to maintain nation’s identity by inspecting, monitoring and certifying quality of movies before they are released to the market. All the substandard movies with code mixing, wrong English titles and subtitles should be monitored before they go public.
The production plan outlines a cinema scene to be filmed in a college theatre made to look like a cinema with projection on the backdrop and seating. It involves three characters - a wife, an artist, and husband. The wife and husband will be casually dressed while the artist will be dressed all in white. Props of popcorn will be provided to the characters to hold for realism during the scene.
The document discusses visiting a shopping mall with family. It notes that there are many items for sale, especially for kids, and places where kids can play while their parents shop. While shopping malls offer a wide selection, it can be difficult to remember all the items one intended to purchase. The document encourages enjoying life's blessings and moments of rest.
Mobile App for Movie Ticket Booking ScreenshotsIniya Kannan
The document describes a mobile app called Yozwa that was created by Iniya to allow users to book movie tickets. Yozwa allows users to search for movies playing in their area by name, language, and venue. For the movie Thuppaki playing in Tamil at the Maha Rani venue, the user can see available showtimes and purchase tickets.
The document outlines a software development project timeline by Soft-Touch Group to create a cinema booking application between November 1-25. It details the requirement analyst, designer, coder, tester, and maintainer assigned and breaks down the project into requirement analysis, design, coding, testing, and completion phases. Features of the prototype include login, software outlook, file handling, and functions for booking, storing, retrieving, and deleting tickets and searching or viewing total income. The project aims to automate cinema booking and management for ease of use, security, and reduced manual work.
As HCM has many shopping malls existing for the moment, people in this area tend to come here more often and have many different type of activities. Let's figure out which shopping malls are popular now and what people often do there with Q&Me.
Retail trade area analysis through the application of East Massachusetts geodemographic classification. Different approaches of trade area evaluation were applied and compared. Trade areas of two mall were assessed and compare as well.
The document presents a software requirements specification for an online movie ticketing system for Starmall Cinema that will allow users to purchase tickets online, see movie times and trailers, and provide customer feedback. It describes the purpose, scope, users, functions, and design of the system. The system will be a web-based application developed using programming languages like PHP and JavaScript and a MySQL database.
2nd Shopping Center Planning &Management Seminar was organised by Maad Retail Studies Center in tehran, Iran, 21-22 October 2013. Participants were top development companies from Iran. The seminar was a successful contribution to the development of the shopping center industry in İran.
PROJECT IN DETAIL
Skopje City Mall located in Skopje the capital city of Macedonia is going to be first modern shopping mall in the region. With the ground breaking ceremony held 19th December 2010 and the construction in progress the opening is scheduled for September 2012.
The investment of 80 million Euros is the vision of Balfin MK, a joint venture company between Fashion Group, a leading business group in Macedonia and Balfin, a leading business group in Albania.
The development is supported by European Bank for Reconstruction and Development.
This document describes an online movie ticket booking website created using ASP.NET with C Sharp. It details the objectives, tools and languages used including Visual Studio, HTML, CSS, JavaScript and ASP.NET. Features for customers include registering, exploring movies, selecting seats and timing, using a cart for payment and receiving e-tickets. Administrators can add and remove movie details. The document also discusses future improvements, limitations and concludes the project was successfully developed with a user-friendly interface for both customers and administrators.
architectural case study on City Center Mall, Banjara Hills , Hyderabad. #casestudy,#architecture,#mall,#literaturestudy,#citycenter,#hyderabad,#architectural
This document is a synopsis for a term paper on the impact of shopping malls in small towns on consumer behavior. It will examine how the introduction of shopping malls has changed consumer shopping patterns and decision making in small towns. The synopsis outlines the objectives of understanding how consumer mindsets have changed regarding malls and the impact of demographics on purchases. It also discusses the research methodology, which will include a survey and analysis of primary and secondary data sources to understand consumer experiences and challenges with malls.
Nigerian video Industry paper - Pete TidemannAndrea Quaranta
The Nigerian video industry developed out of cultural productions like the Yoruba Travelling Theatre tradition and has become an important part of popular culture across West Africa and the diaspora. It began with filmed performances of the Travelling Theatre but later emancipated into its own video genre. The Yoruba video industry in particular centered around Lagos and produced genres like juju films and comedies. The Hausa video industry in Northern Nigeria also grew out of cultural forms like drama clubs and popular literature and has been influenced by Indian films which were already popular there. Both industries have become economically significant and reflect social and political issues in Nigeria through their storytelling while also entertaining mass audiences.
A Brief Overview Of Ethiopian Film History.pdfKaren Benoit
This document provides an overview of Ethiopian film history from its introduction in the late 19th century to the contemporary period. It discusses how film was first introduced during Emperor Menelik II's reign in the 1890s but faced resistance from the clergy. The first public screening was in 1909-1910. Early films focused on the royal family. During the Italian occupation from 1936-1941, Italians used film for propaganda. Under the communist Derg regime from 1974-1991, film production was nationalized and censorship increased. However, some notable films like "Harvest Three Thousand Years" were produced. The contemporary film industry is growing after a long period of instability.
Experience of Diasporic Nigerians watching Nollywood Films - ADEKUNLE DETOK...Michael Olafusi
This document summarizes a research paper about the experience of Nigerians in the diaspora watching Nollywood films. The researcher conducted interviews and focus groups with 22 Nigerian-Londoners of Yoruba ethnicity in southeast London. Key findings included that watching the films reminded participants of home and gave them a sense of belonging, as the hairstyles, clothing, and traditional costumes were familiar. Participants also enjoyed elements of the films like incantations and verbal expressions. The researcher concludes that cultural influences remain important for migrant communities, and watching these films helps relieve nostalgic feelings for home.
An historical appraisal of nigerian democratic experienceAlexander Decker
This document provides an historical appraisal of Nigerian democratic experience from pre-colonial times to independence in 1960. It discusses the indigenous democratic tenets that existed in the different political systems across Nigeria prior to colonial rule. It then examines the introduction of electoral politics by the British colonial administration and the emergence of political parties. Finally, it analyzes the political trends and failures in Nigeria since independence, including regional divisions, military coups, and the civil war.
The document discusses the changing phases of world cinema from its origins to modern globalization. It begins by describing how the Lumiere brothers' invention of cinema brought moving images from region to region. It then outlines five phases of world cinema: Cosmopolitan, National, Federated, World, and Global. Later phases saw cinema become more transnational as technologies like video allowed for swift global distribution. The essay explores how cinema both reflected and shaped national and international connections and negotiations across its historical development.
The document provides an overview of Japanese culture and history by comparing it to England. It discusses Japan's isolated island history and the influence of Shintoism and Buddhism on its culture. The document also examines Japan's strict social hierarchy under the samurai class, its xenophobic tendencies and wartime atrocities. Additionally, it explores aspects of modern Japanese culture like youth trends, education system, and language. The capital city of Tokyo is highlighted as a diverse region with unique districts and a vibrant youth culture centered around idols.
After the independence of Tanganyika in1961 and its unification with Zanzibar to form Tanzania in 1964, Bongo movie artists in Tanzania have increasingly been using more English in Kiswahili movies than before. This paper sought to describe this new trend. Specifically, it highlights evidence and describes the motivations and impacts of the change. The study was conducted in Dar es Salam city involving movies acted before and after 1961 to 2013. The study involved spectators, actors and actresses, producers, directors and distributors. Data were collected through documentary review and interview methods, and were analysed descriptively and comparatively. Many factors have been realised to contribute to this change. However, they can be mainly categorised into psychological, cultural and economic factors, which all are a result of socio-cultural and economic changes which have been taking place in the country since1980s. Besides, it is revealed that the change has mainly impacted in deconstruction of Tanzanians’ identity and economic gains to key Bongo movie stakeholders. The study has revealed further that the change deconstructs our identity as a nation because the country remains half-caste in film industry, since there is no clear cut between Tanzanian and Nigerian movies. Therefore, the government is urged through the National Films Censorship Board, to maintain nation’s identity by inspecting, monitoring and certifying quality of movies before they are released to the market. All the substandard movies with code mixing, wrong English titles and subtitles should be monitored before they go public.
The document discusses influences and changes during Japan's Meiji Era from 1868 to 1912. It describes how Japan underwent major political and government shifts, influenced by Western powers, moving from a feudal system to a modern bureaucracy. This led to changes in lifestyle, industry, and technology for citizens. Literature from this era reflected the struggles of the people during this transition period. The culture was shaped by both the new government system and works of authors like Mori Ogai that showed cultural connections.
Man on Ground is a 2011 Nigerian film directed by Akin Omotoso that focuses on Nigerian migration to South Africa. It tells the story of two Nigerian brothers, one who is successful in London but returns to South Africa to search for his brother who was living there. Through his search, he discovers the difficulties faced by African migrants in South Africa, including xenophobic violence. The film was produced to raise awareness about issues like discrimination and help improve relations between Nigerians and South Africans through screenings and discussions. It uses a minimalist style compared to typical Nollywood films to communicate the isolation of migrants and critique a post-apartheid South Africa that remains hostile to foreigners.
The Battle of the Boyne in 1690 was an important victory for King William III that secured his position as ruler of Britain and Ireland. The battle pitted the deposed King James VII of Scotland and II of England against his nephew and son-in-law King William III. William's forces defeated James's army, comprised mostly of inexperienced recruits, near the River Boyne in Ireland. The battle marked a turning point that established Protestant rule in Britain and Ireland.
The document is a chapter from a book that discusses a community arts project in Clanwilliam, South Africa called the Clanwilliam Arts Project. It provides background information on the project, which engages school students in creative arts activities based on stories and icons from the Bleek & Lloyd archive of /Xam (San) oral traditions. The project aims to provide arts access, train facilitators, and reconnect the community to its /Xam heritage through performance. It discusses how heritage is an active process of engaging with the past in the present, and can be transformative.
Documentaries are non-fiction films that are made to inform audiences about real people, places, events, and topics. They come in many subgenres, such as nature, history, science, and urban documentaries. Popular documentary creators like the BBC and Discovery Channel focus on specific types of documentaries - the BBC is known for nature documentaries while Discovery focuses on science. Iconic documentary filmmakers like David Attenborough and programs they've created, like Planet Earth, are considered some of the best examples of the genre. Modern documentaries satisfy audiences' desires to learn about other cultures and environments from the safety of their own homes. Different channels now specialize in different subgenres to cater to varied audience interests.
Towards further bilateral exchange driving force of echo boomersDongwook Lee
1) The document discusses bilateral exchange between South Korea and Japan, focusing on cultural exchange among "Echo Boomers", also known as Millennials, who were born in the late 1980s to early 1990s.
2) It provides context on the economic and political characteristics of Echo Boomers in both countries. There was initial tension and censorship regarding cultural exchange in the late 20th century that has eased.
3) Government policies from both South Korea and Japan gradually opened cultural exchange between 1998-2004, including movies, music, and animation. Private organizations and citizens from both countries have also advocated for further cultural understanding.
The document discusses the 1937 French film Pepe le Moko, set in colonial Algeria. It provides context that the film was made during colonial era in a studio production style. It examines the themes of France vs. Algeria, law/order vs. violence/chaos, and Paris vs. Algiers. It also analyzes the settings of colonial Algiers and the Casbah, and how they portrayed Algeria as exotic, dangerous, and chaotic within the colonial imaginary through iconography of the time period.
This document provides credits for contributors to an exhibition focused on Johannesburg. It lists the names, locations, and brief biographies or areas of work for 27 scholars, artists, curators, and others involved in the exhibition. The biographies cover a diverse range of perspectives and backgrounds, including those working in history, art, architecture, writing, performance, and more.
Term Paper India and the East India Company (History)Possible s.docxmattinsonjanel
Term Paper: India and the East India Company (History)
Possible sources:
http://www.britannica.com/EBchecked/topic/176643/East-India-Company
http://www.infoplease.com/encyclopedia/history/east-india-company-british.html
https://www.sscnet.ucla.edu/southasia/History/British/EAco.html
http://www.victorianweb.org/history/empire/india/eic.html
http://history.howstuffworks.com/historical-events/east-india-company-influence1.htm
Outline:
I. Introduction
A. What is the East India Company?
II. Establishment
A. Reason for establishing
1. To pursue trade in the East Indies
2. Break Dutch monopoly of spice trade
B. Influential Figures
1. Queen Elizabeth I
2. Sir James Lancaster
3. King James I
C. The first Joint-Stock Corporation
III. Foothold in India
A. Hostilities between British, Dutch, and Portuguese
B. Sir James Roe and the Mughal Emperor Nuruddin Salim Jahangir
1. Commercial Treaty
IV. Expansion and Development of a Monopoly
A. The New World, etc.
V. Conclusion
[Type text] [Type text] [Type text]
Running Head: The Impact of Korean Dramas on Distributing Korean Culture
The Impact of Korean Dramas on Distributing Korean Culture
Introduction
Television programs always have huge connection with different cultural backgrounds. Therefore, people’s opinion on understanding a culture can be influenced by those TV programs. Especially for Korean dramas, which refers to the televised dramas made in Korean and use Korean language. These years, Korean dramas are being popular worldwide as there is a lot of people are watching Korean dramas from all over the world. By watching Korean dramas, people start understanding Korean custom, the popular places in Korea, Korean food and Korean language. Moreover, people get interested in Korean culture from receiving the information of those Korean dramas. Therefore, some of them they begin to learn Korean language, travel to Korean and even introduce Korean culture to the people around them. As a result, Korean culture has been distributed by Korean dramas. Drama has the aspect of both culture and economy and thus Korean drama is intended to promote exchange of culture globally and to make it an export industry. The Korean drama on TV has led to a lot of reactions from different diverse communities. And since the TV dramas in Korea show a detailed reflection on their industry, thoughts and lifestyles, Korean culture has been distributed by Korean dramas to all over the world.
Literature Review
Korean Wave
To discuss the impact of drama in distributing Korean culture, the generation of Korean Wave was powered by the Korean drama. As Korean culture start getting more and more popular across Southeast Asia and all around the world, this spread of Korean popular culture is referred as Korean wave. In addition, “hallyu” is another term of Korean wave, which means “flow of Korean” (Shim, 2006). Korean wave includes the popularities of Korean pop music, products, films and drama ...
Jockeying for Tradition The Checkered History of Korean .docxaryan532920
Jockeying for Tradition: The Checkered History of Korean Ch'anggŭk Opera
Author(s): Andrew P. Killick
Source: Asian Theatre Journal, Vol. 20, No. 1 (Spring, 2003), pp. 43-70
Published by: University of Hawai'i Press
Stable URL: http://www.jstor.org/stable/1124052
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Jockeying for Tradition:
The Checkered History of
Korean Ch'angguk Opera
Andrew P. Killick
The perception that Korea does not have a traditional theatreform comparable to those
of other Asian countries has been widely accepted by Koreans as well as international
observers. The last hundred years have seen a sustained effort to fill this gap with a genre
called ch'angguk-a type of opera using the singing style, and often the actual reper-
toire, of the older musical storytelling form p'ansori. But admission to the hallowed
ranks of the traditional has not come easily, and ch'anggfik still awaits the marks of
institutional recognition bestowed on p'ansori and other designated "cultural assets."
This article traces the complex and unfinished history of ch'anggfik's efforts to position
itself relative to the "traditional" against the backdrop of Korea's turbulent transition
from Confucian dynastic rule through colonization, partition, and nation building.
In the process, we see how a genre that seeks to associate itself with tradition has had
to address issues of historical truth, modernity, nationalism, gender, and the colonial
encounter.
Andrew Killick is lecturer in ethnomusicology at the University of Sheffield, U.K.,
and past president of the Association for Korean Music Research. He received his Ph.D.
in ethnomusicology from the University of Washington in 1998 and served as associ-
ate editor and contributing author to the East Asia volume of the Garland Encyclo-
pedia of World Music (2002). His research interest in musical theatre extends from
Korean opera to Broadway and Hollywood.
Given the enormous amount of attention, scholarly and other-
wise, that the theatrical traditions of Asia have attracted both at home
and abroad, one might not expect to find a whole country whose main
form of indigenous professional indoor theatre remains virtually
unknown outside its borders and largely neglected even withi ...
1. The history of Taiwan cinema began under Japanese colonial rule from 1895 to 1945. Films were initially brought to Taiwan by Japanese colonizers for propaganda and educational purposes.
2. The first major figure in Taiwan cinema was Takamatsu Toyojiro, a Japanese film exhibitor and producer. In 1907, he produced Taiwan's first documentary film to promote the colonial government. He established Taiwan's first theater chain and was the main film producer until 1917.
3. In the 1920s, a Taiwanese film studio called the Taiwan Cinema Study Association was formed and produced Whose Fault Is It?, Taiwan's first narrative film. However, the studio failed financially after its release and Taiwan continued to rely on imported films
South Korea has a population of around 48 million people, most of whom live in urban areas like the capital Seoul. K-pop music has become popular internationally, while traditional Korean architecture features wooden temples. Texting is a major form of communication, and Western brands are commonly worn, but traditional hanboks are still used on special occasions.
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1. Historical Research Letter www.iiste.org
ISSN 2224-3178 (Paper) ISSN 2225-0964 (Online)
Vol 3, 2012
CINEMA BUSINESS IN LAGOS, NIGERIA SINCE 1903
Oladipo O. Olubomehin, PhD
Department of History and Diplomatic Studies,
Olabisi Onabanjo University,
Ago Iwoye, Nigeria.
E-mail:olubomehind@yahoo.com
Abstract
Cinema business constituted an important aspect of the local economy in Nigeria during the colonial period. The
business flourished from 1903 when the first film was shown in Lagos through into the 1970s and 80s. Lagos,
being the nerve centre of commercial activities in Nigeria with a cosmopolitan population, had many cinema
houses. Apart from enriching the owners, cinemas provided employment for many people and also served an
important social function. People visited cinemas for relaxation and entertainment purposes. However, the
downturn in the national economy and the emergence of the home video business created a negative effect on
cinema ventures as many of the cinema houses were closed down. This paper is a history of the rise and decline
of cinema ventures in the city of Lagos, Nigeria. It examines the nature of the business as well as the socio-
economic impact on the society. It tries to unravel the factors that led to the decline of the business and the new
trend in the re-emergence of cinema houses in the country.
Key words: Cinema, Business, Lagos, Nigeria.
1. Introduction
Prior to the advent of the television and home video in Nigeria, cinema was one of the major means of
entertainment and relaxation in the country. Lagosians, in particular, already had a vibrant cinema culture since
the colonial era. Cinemas, seeing films or motion picture was a popular form of entertainment and relaxation in
Nigeria before independence in 1960. Cinema is a means of information, education and cultural development of
the masses (Enahora, 1989: 101). It is a means of communication and comprehension. Cinema enables the
people to immerse themselves in an imaginary world for a short period of time in addition to other side
attractions it offers.
The cinema business flourished in Lagos from 1903 up the late 1980s and 90s. In its heyday, Lagos had
more than forty cinema houses (Akarue et al, 1992: 37). The cinema houses availed the public the opportunity of
viewing varieties of favourite films, both foreign and local. In spite of the importance of cinemas in the social
and economic life of the Nigerian people, the subject seems not to have appealed to historians. The few works
available on the subject of cinemas in Nigeria have been done by non-historians. This paper, which complements
earlier studies on the subject of cinemas in Nigeria has been written from historical perspective.
The research questions which this paper seeks to answer are: How did cinema business emerge in
Nigeria? What was the nature of the business? How were movies and films sourced? Who were the audience at
the cinemas? How profitable was the cinema business and what impact did cinemas have on the society? In
short, this paper examines the business side of the cinema culture in Lagos, the economic nerve centre of
Nigeria.
Let us begin with a review of the little literature available on this subject. We do have many works that
deal with the history of cinemas in Nigeria but there are a few studies on the subject of film making and
television. For example, there is the work of Augustine Enahora on film makers and film making in Nigeria. The
work sheds light on the problems and prospects of film making in Nigeria (Enahora, 1989). It also looks at the
role of the cinema in national development. However, this work cannot be regarded as an historical research
work on the subject of cinema business in Nigeria. Another work we can consider is that of Charles Umeh. This
work examines the advent and growth of television broadcasting in Nigeria. Umeh’s (1989) work sheds light on
political and educational factors that influenced the establishment of television stations in Nigeria but does not
say much about cinemas as an important element of mass media in Nigeria. We also have the essay written by
O.O. Adenugba (2007) on the Nigerian motion picture industry. As the article title shows, the paper truly shows
how the Nigerian movie industry has evolved over the years beginning from the colonial days. The paper talks
about filming and film exhibitions in Nigeria. Since films were exhibited in the cinemas, he necessarily made
reference to cinemas but the essay falls short of what can be regarded as a detailed account of the history of
cinema business in the country.
2. The Cinema in Colonial Lagos
One of the developments which came with colonial rule in Nigeria was the cinema. Lagosians were the
first to experience motion picture entertainment in Nigeria. The first film screenings in Nigeria actually took
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2. Historical Research Letter www.iiste.org
ISSN 2224-3178 (Paper) ISSN 2225-0964 (Online)
Vol 3, 2012
place at Glover Memorial Hall, Lagos, from August 12 to 22, 1903 (Adegoke, 2012). In that year, Herbert
Macaulay, the foremost nationalist, was reported to have invited the Balboa and Company to Nigeria. The
company had an exhibition tour of “silent films” on the West African Coast. The success of this effort, led to the
influx of other European film exhibitors to Nigeria (NAI: COMCOL 1, 233/1). Apart from the Glover Memorial
and Empire Hall, there were four other halls showing films twice a week in Lagos mainland and one hall each in
Ebute Meta and Oshodi by 1921. By this time, cinema had become popular in Lagos with crowds of young and
old people usually waiting for the doors of the cinema halls to open (Agbanoma 2007:7 citing Leonard,
1967:159). Indeed the combined efforts of the government and the church encouraged the development of
cinema in Lagos in the first two decades of the twentieth century. The Christian missionaries used cinemas for
religious propaganda while the government, during the First World War, used it as means of raising fund for war
relief and for the Red Cross. The government also used the cinema for advertisement purpose. For example, the
results of the 1923 Legislative Council election in Lagos were flashed on cinematograph screens (Leonard, 1967:
155 cited in Agbanoma 2007:8). The various military campaigns were brought vividly to the people through
cinema exhibitions (The Time of Lagos, 1-8 August, 1916, 14 cited in Agbanoma 2007:7). The early films shown
were documentaries and the films were mainly newsreels. The colonial government was not interested in
exposing the economic potentials of cinemas to the colonies. Rather, her reason for bringing the cinema was
basically political and to some extent social. The government was interested in producing and using
documentary films to brain wash the colonied people and to propagate British ideals while at the same time
enlightening the public on health, education and other matters (Okezie, 1995: 18 cited in Agbanoma 2007:24).
Subsequently, cinemas became a common feature of the social life in the emerging lagoon city of Lagos
in the late 1930s and early 1940s. Indeed before this period, cinema operations seem to have been limited to
comparatively small scale cinematograph exhibitions. The establishment of big commercial cinema houses with
branches in strategic parts of the country only began in the late 1930s (Agbanoma 2007:8).
Cinema houses were established in the colony of Lagos with the express permission of the colonial
government from 1937 (NAI: COMCOL 1, 233/1). One of the earliest cinema operators in Lagos was the West
African Pictures Company owned by Mr. S. Khalil, a member of the Syrian community in Lagos (NAI:
COMCOL I, 233 Vol. II). The company was granted the right to use the Glover Hall Lagos, including its Tennis
Court Gardens and bar for three nights a week for cinematograph shows. Later, the West African Pictures
Company established Rex Cinema in Ebute Metta, Regal Cinema and Royal Cinema, Lagos in the late 1930s
and early 1940s (COMCOL, 233/Vol. 2; Also Daily Times, October 19, 1940: 7 and 8). The three cinema houses
under the flagship of the West African Pictures Company were the major cinema houses in Lagos in the early
1940s (Nigerian Daily Times, September 4, 1939). The other cinema house in Lagos during this period was the
Capitol Cinema.
During the colonial period, big commercial cinema houses were operated mainly by foreigners as
shown in the example of Mr. Khalil cited above. One or two few Nigerians had participated in the cinema
business in the early period of colonial rule. One was Mr. S.H. Pearse who muted the idea of establishing Kelvin
Traveling Cinema Company in 1918 and the other person was Mr. S.O. Dawodu who showed film to the African
Tennis Club in Lagos in October 1927 (Agbanoma 2007:8). Our sources are silent on the success recorded by
this early attempt at getting involved in the cinema business by these Nigerians.
Since the cinema productions undertaken by the colonial government were documentaries used for
public enlightenment to promote its policies on agriculture, infrastructural development and education (NAI:
COMCOL 1, 233/1), they did not satisfy the social aspirations of the populace. However, the commercial cinema
houses established in the 1930s and 40s filled this social gap as they offered entertainment to the rapidly
increasing modern African elites and the colonial officials living in Lagos.
The colonial authorities were careful in granting licenses to operate cinemas as evidenced in the
rejection of an application filed by Mr. J. C. Ticehurst on behalf of his client for the establishment of a cinema
house at Ikoyi in 1938 (COMCOL, 233/1, 2). In 1942, the application for the permission to open a cinema at
Odunlami Street, Lagos was also turned down because the colonial authorities believed then that the number of
cinema houses was “sufficient for normal need” (NAI: COMCOL 233/1, 2). As a result of the growing
importance of cinemas in the colonial economy, the government set up a Board of Censorship in 1937 under
Ordinance No. 28 (an amendment to the cinematograph Ordinance of 1933) to handle all matters relating to the
establishment and operations of cinema houses in the colony. The Board had among its members Hon. A.
Alakija, Mr. I.B Augusto, (B.L.), Mr. J.R.P. McEwen and Dr. J.C. Vaughan. Other members of the Board were
the Secretary, CMS Yoruba Mission, the General Superintendent, Methodist Mission West of the Niger, and the
Principals of St. Gregory’s College, CMS Grammar School, and Methodist Boys High School all in Lagos (NAI:
COMCOL 1, 233/II).
The restriction and censorship imposed on the proliferation of cinema houses in Lagos in the early
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ISSN 2224-3178 (Paper) ISSN 2225-0964 (Online)
Vol 3, 2012
1940s were not unconnected with the design of the colonial government to control the flow of negative publicity
and unwanted information during the ongoing war in Europe. Public opinion also influenced the decision of the
colonial government in rejecting the application of some of the proposed cinema houses. The principals of CMS
Grammar School, and the Salvation Army were among those who raised objection to the establishment of a
cinema house at Odunlami in 1942 (Commissioner of the Colony to the Chief Secretary to the Government,
April 2, 1942). The objection was based on the ground that cinema house would constitute a nuisance to the
environment as it would attract all kinds of people including hooligans. Other possible reasons for not approving
the request to operate cinema houses in Lagos during this period were the environmental and social implications
of operating the cinemas. The colonial government reasoned that new cinemas would add unnecessarily to the
number of places where crowds assemble in the colony. In addition to this, they would increase the “amount of
light in the city during the black-out hours”. Above all, they would increase traffic congestion (NAI: COMCOL
1/233 Vol. II “Cinematography”).
In spite of the above, between 1939 and 1945 the British colonial administration in Nigeria still saw the
cinema as a veritable medium of mass communication and mobilization in addition to entertainment and
relaxation. In view of this, the cinema was effectively used by the British government to promote its war efforts
and propaganda. Nigerians and Lagos cinema lovers were treated to varieties of British films such as “Queen
Christina”, “Suez”, “Four men and a Prayer” and more importantly, daily update of the British war news
throughout the duration of the Second World War.
The admission fees to the cinema during this period were in some cases 1s or 2s or 6d depending on the
movie. Children were not also left out among the important cinema viewing audience in the colonial period.
School children’s cinema shows such as “Rose Marie” featuring Jeannette MacDonald and Eddie Nelson were
shown regularly by the cinema houses. The cinemas were also used to disseminate daily war reports during the
Second World War under the caption “British War News”.
The end of the Second World War in 1945 led to an influx of American films into the country. In
addition to this, the colonial government was forced to relax its stringent policies on the establishment and
operations of cinema enterprises in the country. This led to a steady increase in the number of cinema houses in
the country and Lagos in particular between 1945 and 1950. The opening of new cinemas in Lagos in the early
1950s, received succinct observation from W. Fowler, the Acting Administrator of the Lagos Colony in 1953
when he said that: “The opening of the cinemas demonstrates the growing cult of the cinema and it’s possibly a
symptom of cultural vacuum which is yet to be wholly filled in Lagos.” (NAI, CSO/21, Colony Annual Report
1953).
Apparently, Lagos grew to become not only the administrative and economic centre but also an
important social hub in Nigeria in the colonial era by virtue of its rapid growth and the emergence of modern
African elites in the city. There were many cinema houses in the city. Indeed, on the eve of independence in
1960, Lagos had about twelve cinema houses, while Ibadan had three cinema houses (DTN, Advertisement,
October 19, 1957:10). The cinema house in Lagos before independence in 1960 included Rex Cinema, Royal
Cinema, Regal Cinema, Capitol Cinema, Casino Cinema, Kings Cinema, Central Cinema, Rialto Cinema,
Corona Cinema, Odeon Cinema, Road House Cinema, Ikeja Arms Cinema and Glover Hall. There were in
addition to this, branches of Rex and Odeon cinemas in Ibadan. It is important to state that the cinema business
in Nigeria during this period was dominated by foreigners, namely Indians and Lebanese (Enahora, 1989:103).
Suffice to say that by the time of Nigeria’s independence, the cinema culture had become fully established.
It is instructive that the commencement of television transmission services in Western Nigeria on
October 31, 1959 was not an immediate threat to the cinema business in Lagos. This was because the Western
Nigeria Television Service in Ibadan was not established to rival the cinema houses in the country (Umeh,
1989:56). But this led to the subsequent establishment of Eastern Nigeria Television Service in 1960 and the
Nigeria Television Service in 1962. In spite of this, the cinema businesses in Lagos grew further in number and
size with an army of insatiable cinema enthusiasts.
3. Cinema Business in the Post-colonial Period
After independence in 1960, cinema business in Nigeria entered into a period of rapid expansion.
Between 1960 and 1975, new cinema houses were established in the country; Lagos benefited immensely from
this increase. The number of cinema houses in Lagos increased from twelve in 1960 to about twenty four in
1975. The post-colonial period also saw more Nigerians taking an active part in the ownership of cinema houses.
Indeed some of the cinema houses which were previously owned by foreigners prior to 1970, were bought over
by Nigerians. A good example of a Nigerian who did this was Mr. Edwin Clarke who bought Scala and a
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number of cinema houses in Lagos in 1973 (Agbanoma, 2007). Apart from Clarke, some other Nigerian business
men began to break the monopoly of the big commercial cinema houses owned by foreigners. Prominent among
these businessmen were Chief Lisabi of Metro and Rivoli Cinema in Lagos and Alhaji Danjuma of Danjuma
Cinema in Lagos. The increased involvement of the indigenes in cinema business at this time might not be
unconnected with the efforts of the Federal Military Government who in the 1970s tried to limit the involvement
of foreign interests in a number of enterprises in the country by promulgating the Nigerian Enterprises Decree of
1972. This decree gave exclusive monopoly for the distribution and exhibition of films to Nigerians. The
involvement of Nigerians in the cinema business, however, does not mean that the business was totally taken
over by them. Indeed, foreigners continued to play a very important part in the business (Enahora, 1989: 103).
The increase in the number of cinema houses in Lagos during this period was as a result of the
expansion embarked upon by the West African Pictures Company which increased its cinema houses in the city
from three in 1940 to six in 1975. A group of Lebanese businessmen, the Mattar brothers, also came into the
country in the early 60s to establish their own chain of cinema houses (Akarue, 1992: 37). The Mattar brothers
established the Roxy Cinema at Apapa, the Odeon and Central Cinemas at Ebute-Meta, Idera Cinema, Mushin
and Plaza Cinema, Lagos. Other cinema houses in Lagos during this period included Sheila, Rainbow, Oregie,
and Glover (Daily Times, July 2, 1975: 20). Many indigenous entrepreneurs found it difficult to invest in the
cinema business because they lacked the capital, managerial skill and technical know-how to venture into the
business.
The rapid increase in the population of Lagos was a major factor that propelled the increase in the
number of cinema houses in the city. The population of the city increased from 126,474 in 1931 to 230,256 in
1950 and 655,246 in 1963 (Olukoju, 1994: 35 citing Sada and Adefolalu, 1975). In addition to this, the existing
cinema houses could not meet the growing demand of the cinema viewing audience in Lagos. Furthermore,
there was an unprecedented influx of cheaper Indian and Chinese films into the country which the cinema
operators capitalised on to tantalise their patrons. The influx of the cheap Indian and Chinese films made it
possible for the low income earners including artisans and the uneducated class in the country to embrace the
cinema viewing culture. Aside from this, these films and more importantly their story lines were comprehensible
even to the uneducated. The appeal of these films to the Nigerian viewing audience is quite understandable.
Their story lines addressed issues of love, oppression, racial and class disparity which were to some extent
peculiar to Nigeria, India and China where these films originated from.
An important development in the cinema industry in the post-colonial period especially as from the
1970s which we must not fail to mention was the transition in film production from celluloid to video
production, a development that was to later have a major impact on cinema business in the country. The change
from celluloid films to video was as a result of several reasons. Firstly, the production cost of celluloid films
skyrocketed. Not only that, there was problem associated with its distribution. Whereas there was difficulty in
distributing celluloid films, it was not so with video films which replaced it. Consequently, majority of the film
producers who had once financed the production of celluloid films used in cinemas had to jettison it for the
production video films which were easier to distribute and which movie lovers could easily enjoy or view in the
comfort of their homes (Agbanoma, 2007). This factor was to later play an important role in the decline of the
fortunes of cinema houses in Lagos.
The cinema industry in Nigeria appears to have received a boost from the federal government in 1975. In
that year, the federal government embarked on the construction of the national arts theatre in Iganmu, Lagos.
The construction of the edifice was part of the effort to prepare for the hosting of the Second African Festival of
Arts and Culture (FESTAC) which took place in Nigeria in 1977. The theatre was a replica of the Bulgarian
Theatre of Culture in Verna, Bulgaria (Arigbabu, 2009:61). The national theatre was completed in 1976 with two
cinema halls in addition to the main bowl with a seating capacity of 5000. The two cinema halls had the capacity
to seat 700 people each (Akinosho, 1986:39). The importance of the national theatre to the development of the
cinema industry in Nigeria was that it provoked further interest and enthusiasm among Lagos cinema goers.
The emergence of Nigerian films in the early 1970s, also contributed to the growth of the cinema
business in the country. The Nigerian films competed favourably well with the American, Chinese and the
Indian films at the box office. Ola Balogun’s film Ogun Ajani in 1976, (Akinosho 1986:40) and Ogunde’s Aiye
in 1979 and Jaiyesimi in 1980 respectively were indigenous films that caught the interest of Nigerian cinema
lovers (Oguntayo 1990:47). Other Nigerians who got involved in film production following the oil boom of the
70s were Eddie Ugboma, Ladi Ladebo, Ola Balogun and Galadima (Adenugba, 2007). The Alarinjo Theatre
troupes also made films such as Ija Ominira, Owo L’agba all of which appealed to the cinema viewing public in
the country (Adenugba, 2007). Within a short period of time, indigenous movies relegated the foreign movies to
the back place at the cinemas. In 1982, Ogunde produced another film titled Aropin Tenia and then Ayanmo in
1988. Other indigenous film makers like Moses Olaiya, alias Baba Sala produced Mosebolatan, which was
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reported to be one of the first successful indigenous films in Nigeria that thrilled the cinema audience. The film
made a gross revenue of about N107 000.00 in five days in 1985 (Akinosho 1986:39).
4. Nature of the Cinema Business
Cinema business was a service based venture that involved the cinema houses providing a variety of
entertaining films to the public. It did not involve the act of film making itself. Cinema houses were established
to exhibit or show films to the public for an amount considered reasonable and profitable.
4.1 Demand and Patronage
Cinema houses attracted all classes of viewers. It was an avenue for the young and old people in the
society to relax. Children were also allowed at cinemas for categories of films considered not harmful for family
or general viewing. This censorship had always been the responsibility of the government since the colonial era
(NAI: COMCOL I, 233/II “Cinematography”). When the Nigerian Films Corporation (NFC) was established in
1979, it was vested with the responsibility of censoring films in the country. But this responsibility was,
however, later moved to the Nigeria Films and Video Censors Board, NFVCB. Nevertheless, cinema audiences
in Nigeria since the colonial period developed over time to include the rich and the middle income class of
people. The middle income class constituted an important class in the socio-economic stratum of the Nigerian
society in the 1970s and 80s. In the social ladder, they were in-between the poor and wealthy class. Members of
the middle income class were usually the young and often educated, urban professional class people in the
country. They cut across both the public and private sectors of the Nigerian economy. Their combined economic
power was behind the economic and social life of Lagos from the early 70s till the advent of the Structural
Adjustment Programme (SAP) in 1986. The dwindling economic fortunes of the country which drastically wiped
out the economic importance of this class of people also had significant impact on socio-economic life in Lagos
and more importantly, on the cinema viewing culture in the city.
4.2 Procurement and Types of Films Shown
In the early days of cinema operations in Nigeria, the cinema owners usually entered into contract with
the film suppliers for the films. For example, Edward Ramia Chidiak, was reported to have executed a contract
with Messrs Cecil Cattermoul of London for the supply of 48 programmes of films every six months in Lagos at
£50 a programme to run for twelve months in 1943 (NAI: COMCOL 1, 233/II). Apart from this type of contract
arrangement, cinema houses sourced their films directly from the film producers or the studios. Once a film was
produced, it was passed on from the studios to the distributors who in turn passed the films on to the cinemas for
exhibition. In some cases, the film producers sometimes approached the cinema operators to premiere their
movie. This was usually the case with local film producers. The proceeds were usually shared at mutually agreed
terms. Sometimes also, a producer could take his film directly to the cinema for exhibition (Personal
communication with Mr. Adekunle Adebisi, June, 2012). Local film producers such as Adebayo Salami and
Moses Olaiya for example, at various points in time took their films to cinema houses in the 80s and 90s.
Cost was a major problem associated with procuring foreign films for exhibition by cinema houses in
Nigeria. For example, one of the informants stated that it was expensive to get the big “block buster” films. In
addition to the high cost, sourcing for foreign exchange also constituted a problem in procuring foreign films.
(Personal communication with Mr. Patrick Lee, Ozone Cinema, Yaba Lagos, January 20, 2012).
4.3 Financing and Profitability of Cinema Business
Finance is a crucial factor for a smooth and efficient running of any business. This is also true of
cinema business. Cinema business is by nature a capital intensive venture. It involved the provision of a
purposely built cinema hall capable of seating large number of people. In addition, equipment such as projector
must be provided and this was also expensive. By the 1980s, it was also necessary for cinema house owners to
have a stand-by generating set to checkmate public electricity power failure. All these, and the cost of procuring
films combined to make the venture a capital intensive one.
Different financial models were used by cinema operators to fund the establishment of a cinema house
and to run it. Some of the early foreign cinema house owners raised the funds through personal savings or
proceeds from existing businesses. For example, Mr. Chidiak reportedly leased his cinema house in Port
Harcourt to a Lebanese with a view to establish a cinema house in Lagos. (NAI: COMCOL I, 233/II). Other
cinema operators in the colonial era resorted to borrowing, but our sources are silent whether this was from
banks or close relatives and associates.
Another source of fund or finance in the cinema industry was the revenue generated from advertising.
Various organisation or companies such as banks and manufacturing companies used to advertise their products
and services at cinema houses. The revenue accruable to the cinema house in this regard was often substantial
and from it, the cinema houses were able to meet their financial obligations. Retained profit was ploughed back
into the business from time to time by the cinema companies.
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Were cinema houses profitable? From available evidence, it appears that the cinema business during the
period covered by this study was a profitable one. Unfortunately, given the peculiar nature of several African
businesses, it is difficult for us to give exact figures of income and expenditure of a typical cinema house. Many
of the cinema houses were owned and run by private individuals. They did not operate with Management
Boards. They probably did not keep any comprehensive records and where such records exist, they are not
available for the public. However, based on careful examination of available fragmentary evidence, one can
observe the trend.
The West African Pictures, a pioneer cinema which operated a venture in Nigeria made substantial
amount of money from its operations in the colonial era up to the early 70s. It was the success recorded in its
operations and the profitability of the cinema business that informed its massive expansion drive in the country.
The cinema company owned and operated not less than six cinema houses in Lagos alone during the period
covered by this study (Daily Times of Nigeria, July 6, 1975:12). There is no doubt that cinema houses in Lagos
enjoyed considerable patronage from cinema lovers until the economic downturn of the 80s changed the story.
The cinema houses took good advantage of the large and enlightened Lagos population. This patronage in
essence, translated into a lot of revenue.
Going by the level of patronage and the estimated revenue accruable to cinema houses, one could say
that the business was lucrative. The turnover of cinema houses in Lagos in 1983 may have been somewhere
around N20 million. For instance, the film Papa Ajasco by Wale Adenuga made sixty one thousand naira
(N61,000.00) in three nights in 1984. The film Mosebolatan by Baba Sala made about one hundred and seven
thousand naira (N107,000.00) in 1985. The great number of Nigerian movies especially the Yoruba films at the
box office in the 80s testifies to the fact that the cinema business was a lucrative venture. Although cinema
operators complained of low returns, the recent successes of the new cinema outfits in the country such as
Silverbird Cinema, Genesis Deluxe Cinema and Ozone tend to show that the venture is worthwhile.
The newly established cinema outfits in Lagos also attest to the profitability of the business. For
example, the least box office ticket at the cinema in Lagos is currently about N500.00 for children and N800.00
for students while adults pay as high as N1000.00 to N1, 500.00 (Personal communication with Mr. Patrick Lee,
previously cited). With an average attendance of about 500 people especially during weekend shows, one can
imagine what the profit look like for cinema owners.
4.4 The Administrative set up of a typical Cinema House
The early cinema houses were very simple to manage. This is because they only provided films for the
audience to watch. Their management structure was not elaborate. They only required a manager, an operator,
engineer and a cashier to sell tickets to the public. Indeed, when cinema houses newly came to Lagos, a typical
cinema house employed a manager and an accountant in addition to the operator. Apart from this, there were
those who specialised in ensuring order at the cinemas (Personal communication with Mr. Adekunle Adebisi,
previously cited). But as the cinemas began to expand in size and operations, they had to employ other categories
of personnel.
The complexity of the operations of a modern cinema business in the country, the organisation and the
management structure of the cinema houses have changed dramatically. New cinema outfits such as Silverbird,
Genesis Deluxe and Ozone cinemas are highly organised enterprises. They have top level executive managers,
supervisors and customer relations personnel. Silverbird owned and managed by the Bruce family is headed by
an Executive Chairman in the person of Mr. Ben Murray Bruce. He is assisted by other management and
technical staff for effective operation of the organisation.
5. The Impact of the Cinema Business
Cinemas impacted on the political and socio-economic life of the city of Lagos in several ways. The
first noticeable impact is that it was used by the colonial government to pursue its objectives in Nigeria. As
pointed out earlier, several of the films shown in the cinemas in the first two decades of the twentieth century
were documentaries meant to explain the activities of the colonial administration to the people and to get the
people to be loyal to the administration. Not only this, the early films shown in the cinemas were meant to
promote the culture of the colonial master. Also, during the First and the Second World Wars, the cinemas were
used as avenues for showing films meant to get support for Britain from the Colony.
Related to the above was the use of the cinemas in disseminating information to the people. It was used
as a medium of disseminating information about matters relating to nutrition, personal hygiene, political
socialisation, community development and the value of forming self-help associations (Agbanoma, 2007:46).
The church also used the cinema as a tool of evangelisation. The Christian missionaries realised that “one picture
is [sic.] worth a thousand words” (Leonard, 1967: 162 cited in Agbanoma, 2007:7). The church, therefore, used
cinemas for religious propagation.
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Cinemas also had a social effect in terms of providing avenue for relaxation and entertainment. In this
regard, it provided an important outlet for the people to “ease off” tension. This should be appreciated in a busy
city like Lagos. After a very hectic day at work, cinemas provided a good social outlet for people to “cool off”.
As part of its socialising effect, it has also been said that cinemas “provided a common fund of knowledge which
enables [sic.] the viewers to operate as effective members of the societies they live” (Agbanoma, 2007:45). This
helps to foster social cohesion and awareness thereby permitting active involvement in public life.
Cinemas have also played an important role in fostering or promoting Nigerian cultural heritage
particularly since the post-colonial period. Cinemas had served as avenues for disseminating the cultural and
artistic values of Nigerian people. Several Nigerian film makers like Eddie Ugboma, Ola Balogun, Hubert
Ogunde, Moses Olaiya and others have used the cinemas to exhibit their films which showed the rich culture of
Nigerian people. In this regard, we can say that cinemas have played a strategic role in preserving the culture of
the various Nigerian peoples.
The cinema houses in Lagos provided direct and indirect jobs for a number of people. From the 1960s
through to the mid 80s, a typical cinema house provided direct employment for about 5 to 10 people who earned
regular salaries. In addition to this, petty traders made brisk business around the vicinity of cinema houses. They
sold wares such as alcoholic and non alcoholic beverages, gin, cigarettes and other items to cinema lovers. Beer
parlour, restaurants and other relaxation spots also usually developed around cinema houses. Hence, we can say
that cinemas acted as a catalyst for economic activities.
Modern cinema houses have incorporated services that allow clients to shop, dine and wine as part of
what cinema viewers could enjoy within the cinema complexes. Silverbird Cinema, for example, has three
restaurants and several other shops. These shops provide various services to the cinema audience such as
restaurant services, boutique and beauty shops.
Cinemas have also become something in the form of a monument; an important reference point in the
society. For example, a popular area in Agege has been named after the famous Pen Cinema that was formerly
situated in that area. Similarly, Casino Cinema Yaba, is very popular and synonymous with the bus stop named
after it in the Yaba area of Lagos.
The socio-cultural impact of the cinema is apparent in various forms in Lagos. It is common, for
example, to hear songs, slangs and terms learnt from a popular movie in common usage among Lagosians. The
term “askari” used to describe the police was derived from Indian movies and was popularised by movie goers in
Lagos. In addition to this, people copied the mode of dressing popular with their favourite artistes especially
Indian and American actors (Ayoola, 1952:211).
All these notwithstanding, the cinemas also have some negative impact on Lagos society. It has been
said that social vices such as drug abuse and addiction, prostitution and violence partly found their way into
Nigeria and Lagos society as a result of the influence of films shown in the cinemas. Advocates of this view
argue that “Lagosians look on helplessly, while damaging cultural influences envelope the minds of Lagos
youths through foreign films” (Agbanoma, 2007:43). This may however, not be absolutely correct because
movies intended for cinema exhibition usually passed through censorship. In addition to this, under-aged
children are usually barred from viewing films rated above their respective ages. It was the television rather than
the cinema that can be said to have exposed the society to the negative influences of the foreign movies in the
country in the late 80s (Akarue, 1990: 54-55). The management of the NTA recognised this when it clamped
down on the influx of provocative videos into Nigeria in 1989 (Okoro, 1989:47).
6. The Decline of Cinema Business
After the height reached by cinema business in Nigeria described above, the business entered into a
period of recession and ultimate decline. The decline was not a spontaneous but a gradual process that began in
the early 1980s and stretched into the 90s. The may be attributed to a number of factors. Firstly, more television
stations were established in the country, beginning from 1983. For example, in 1983, the Ogun State government
established a Television Station at Abeokuta. That same year, the Lagos Television (LTV) was established by
the Lagos State government (Umeh, 1989:62). These stations commenced the transmission of foreign movies
mostly at nights and weekends. Some of the films which had hitherto spiced the box offices became available to
viewers within the comfort of their homes. One factor which should not go unmentioned is the fact that the oil
boom of the early 1970s afforded most Nigerians the opportunity of acquiring television sets of their own. For
example, a survey conducted in 1974 reported that over 87 percent of Nigerians viewed more than two hours of
television programmes daily across the country. By 1984, however, the number of television programmes and
channels in the western part of the country and Lagos in particular, had increased tremendously (Umeh,
1989:62). This in effect took a toll on the operations of cinema houses as people began to embrace the new TV
culture.
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Another factor which led to the decline of cinema business in Nigeria was the arrival of the Video
Home System (VHS). It certainly brought about a reduction in the number of cinema goers in Lagos. Varieties of
foreign films came in this format and were quite affordable. The Indian and Chinese films most especially were
abundantly available in the new format. This fact, coupled with the growing insecurity and the economic
challenges in the country in the 80s, led to a decline in the patronage of the cinemas by the populace (Udeze,
2010:20). In the 1990s, only a few of the once vibrant cinema houses in Lagos were still in operation. Danjuma
Cinema in Agege for example, folded around 1992. After this date, the only remaining functional cinema houses
in Lagos included Kings Cinema, Roxy Cinema, Jebako Cinema, and Cini-Citi but they all also collapsed before
1999. The halls being used by some of these cinema houses were taken over by churches for religious
programmes. For example, Casino Cinema in Yaba has been taken over by the New Revival Apostolic Church
and other facilities around it converted into a shopping complex. The site of Pen Cinema in Agege was initially
sold to a religious organisation by its owners but it is presently being occupied by a fast food outfit (Adekunle
Adebisi, 42 years old, interview previously cited).
Another factor responsible for the decline of cinema business was the harsh operating environment
which the cinema operators had to contend with in the country since 1981. The harsh operating environment
must be situated within the context of the capital intensive nature of cinema business. Available evidence
suggests that the average cost of a film in 1990 was about $10,000.00 or N100,000.00 (Akarue, 1992:27). This
statement is quite plausible because the cost of making a full length Nigerian film in 1986 was about
N250,000.00, half of which was spent on foreign exchange (Akinosho, 1986). However, the cost of a 35 mm
projector which cost N800 before SAP in 1986, increased to N9,000.00 in 1991 (Akarue, 1992:27). This and the
exorbitant tax which cinema operators paid in Lagos amidst a dwindling revenue compounded the problem for
some of the cinema houses in the city. Olatunde Moroundiya, the General Manager of Casino Cinema in Lagos
agreed with this position. In 1991 for example, the Lagos State government took about 16 percent tax on films.
Another factor that led to the decline of the cinema was the economic downturn in the wake of SAP.
SAP wiped out the middle class as an important economic class in country. It is important to stress that the
extinction of this class in the society was a major problem which affected the fortunes of the cinema houses in
Nigeria. Some of the negative effects of SAP included loss of jobs and high cost of living. Inflation occasioned
by the high exchange rate of the naira against major international currencies made life unbearable for most
people in urban centres in Nigeria especially Lagos. People were compelled to adjust and realign their priorities.
As a result of this, visiting the cinema for most Nigerians and Lagosians in particular became a luxury.
7. Conclusion: New Trends and the Prospects of Cinema Business in Nigeria
The rebirth of the cinema culture in Nigeria lends credence to the fact that the cinema business is a
lucrative venture that has a lot of prospects. Silverbird Cinema, for example, expanded its operations in Nigeria
from Lagos to other parts of Nigeria like Abuja and Port Harcourt within few years of its existence. The
company has also extended its operations to Ghana (The Nation, July 11, 2010, 46). With a population of about
160million people, Nigeria is a fertile ground for any business to thrive. More importantly, Lagos has grown to
attain the status of a mega city with a population in excess of 15 million and is still growing. The massive
population of the city and the small number of cinema houses presently operating in the state provide an avenue
for entrepreneurs to invest in the cinema business in Lagos. With three functional modern cinema houses in
Lagos, there seems to be many opportunities for would-be investors in the cinema business in Nigeria.
Moreover, the existing cinema houses in the city are already exploring the possibilities of expanding their
operations by way of opening more cinema houses in the city. The optimism is hinged on the fact that currently
there are just about 15 cinema screens in Lagos with a population of about 15 million people. When compared to
the United States and India with about 6,000 and 10,000 screens respectively, there seems to be a lot of
opportunities in Nigeria for would-be investors in the cinema business. Available evidence suggests that the
cinemas now enjoy full patronage from cinema viewers across the state. For example, Nigerian films such as
Figurine, Ije, Inale and Ogun Aiku, Anchor Baby are currently box office favourites (Ekunno, 2010:34).
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Vol 3, 2012
Lagos: Pumark Nigeria Limited: 34 – 49.
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Aknowledgements
I am grateful for the invaluable contribution of my research Assistants, Messrs Babatunde Yussuf and Seun Soile
towards the writing of this paper. I also gratefully acknowledge the editorial assistance of Prof. Chris Youe of the
Department of History, Memorial University, Newfoundland, Canada. I remain responsible for the views or any
error in the paper.
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