‘The Conversion’

Global Film Industries – Nollywood and Korean Cinema

Ryoo, W 2009, ‘Globalization, or the logic of cultural hybridization: the case of the Korean wave,’ Asian Journal of Communication, Vol 19, issue 2, pp.137-151

This article written by Ryoo (2009) has a focus on the Korean wave, which is about the growing popularity of Korean culture. The argument draws attention to the implications of the Korean wave in regard to global and local transformations in culture. South Korea’s film industry is growing and is not only transforming Asia’s culture, but the world’s idea of popular culture. Originally Korean cinema was only viewed by its own country’s audience, however through cultural hybridisation more and more cultures are continuing to watch and experience Korean culture through shows with relatable content to their own culture. South Korea has become the ‘seventh largest film market in the world.’ (Ryoo, 2009) Countries now share this connection through Korean pop culture and are learning to understand one another’s backgrounds to better communicate.

This article is relevant as it relates to week 4’s lecture topic in supporting Korean pop culture and recognising the growth and impact it has had on a global scale. Through new and improving communication technologies, this cultural hybridisation could occur and create networks all around the world. The article also discusses the value chain analysis in depth, which involved the production, distribution and consumption of Nigerian films to provide an insight into the work that is put into one film. The performance of Nigerian film cinema is also mentioned, revealing the popularity of Nigerian film today and how it has, with the intervention of the government, contributed to employment growth. (Ryoo, 2009)

 

Chowdhury, M, Landesz, T, Santini, M, Tejada, L & Visconti, G 2008, ‘Nollywood: The Nigerian Film Industry’, Harvard Business School, pp. 13-33

This article addresses the Nollywood film industry and provides reasons as to why the government now wants to promote it. Nollywood films cost anywhere between $40,000 and $210,000 to produce (Chowdhury et. Al, 2008) and employs a great number of people which is highly valued. Chowdhury (2008) states Nigerian film industry today, ‘produce over 2000 movies a year, employ over one million workers and have a profit of US $200-300 million per year’, something that would never have been expected from a country such as Nigeria. The report also provides graphs and diagrams that make evident the government’s attempts to intervene into the Nollywood film industry. They have been successful and have done so on occasions such as promoting Nollywood films in road shows throughout the country. The production, distribution and consumption process are discussed in detail throughout the report which gives it relevance to the week 4 lecture topic of ‘Global Film Industries – Nollywood and Korean Cinema’ whilst developing my understanding of the content in this topic.

It’s also interesting to note how the report also shares the limitations of the Nollywood industry rather than just discussing the positives alone, providing different perspectives on the industry and sharing the struggles the industry also faces when producing films. Overall the article gives light to all sides of the Nollywood film industry and allows us to learn about the successes and concerns they face in the production, distribution and consumption process and does so with relevant sources to support their facts.

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