NTAtvc J of Comm. Dec.

, 2021;5(2)

O R I G I NA L A RT I C L E

Emergence of Nigerian Women Filmmakers and Their Contributions to Nollywood

DIVINE BOLUWATIFE OYEYEMI
Department of Film and Film Production, School of Visual and Performing Arts, Kwara State University, Malete.
Divineoyeyemi06@[Link]

Abstract
The issue of gender has attracted so many comments in the media, especially as depicted in Nollywood films. Many of these
films bear reflective roles and have shaped our ideas about social, cultural, political and economic issues. This paper is on the
arrival of women filmmaker in Nollywood and their representation of the female gender in their films. The objectives were to
ascertain the relevance of women filmmakers and their contributions to the development of the Nigerian film industry. This
study focused on two films as the primary data with a view to ascertaining the level of female representation in Nigerian films.
The findings are that the contributions of women filmmakers are the core of the changing narratives of the stereotypical
storylines of women that have been used as the main plots in Nigeria films for decades. It concludes that women should take
more active roles behind the camera and continue to define and redefine Nollywood. The study, therefore, recommends that
female students should be encouraged to look at filmmaking as a career opportunity and the influence of successful women
filmmakers as role models may have a positive influence on a student's career choice.

Keywords: Gender, Nollywood, Representation, Filmmakers, Narratives

Introduction with messages that reach audiences far and wide.

Since the start of filmmaking in Nigeria, women While some of these messages are clearly stated
have been relegated to minor roles. The male gender within the film narratives, others are like fine prints
have been mostly in charge of most production that can only be discerned by some reflections.
decisions behind the camera, while females settle for Many women conferences have been held to
minor roles like costumier, make up and assistant to shed light on this stereotype in order to promote and
the heads of crew members. Meanwhile, females elevate gender equality and woman empowerment.
were negatively portrayed in films as sex objects, Most countries in Africa have constitutions that
evil, wicked, diabolical and barren. This has prohibit discrimination based on sex and recognized
contributed to male chauvinism in which the men socioeconomic rights of all citizens, but there is a big
are biased against women and it can be said that the gap between the provision of gender equality in the
films they watch may have impacted such behavior constitution and daily realities for women.
to an extent. These days, however, not only are women taking
The first film was exhibited in August 1903 at up significant role behind the screen, but also
the Glover Memorial Hall. Nnabuko and Anatsui political role, contesting for political positions in the
(2012, p. 214) further add that: “On Monday, country which they would not be able or allowed to
August 12, 1903, the first motion picture was shown do before, but has happened since gender sensitive
in Nigeria at the Glover Memorial hall in Lagos by laws have been developed in many countries
Mr. Balboa of Barcelona, Spain, under the including Nigeria.
management of a Nigerian Herbert Macaulay …”. In the recent times, women are seen taking up
Nollywood films are consumed on a daily basis roles as filmmakers in both narrative and
worldwide, which bears a deep role in our lives and documentary productions. Now, they are not only
help shape our ideas about cultural, economic, seen on the screen but also behind the camera and
social and political matters. In addition to the taking significant roles as cinematographers,
entertainment value of the films, they are also filled screenwriters, directors, producers and many more.

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DIVINE B. O. Emergence of Nigerian Women Filmmakers and Their Contributions to Nollywood

Feminist scholars, film critics, and activists have journals, books, and articles.
questioned the misrepresentation of women behind The female gender is taking up strong potential
the camera and sexist stereotyped portrayal in front roles behind the camera that help in contributing to
of the camera before now. the transformation of what we call the New
Lately however, women filmmakers are arising Nollywood. This paper would contribute to
from such stereotypes and taking strong roles knowledge on the emergence and contribution of
behind the camera. One of these filmmakers is women filmmakers in Nollywood.
Amaka Igwe, a female filmmaker who has helped
break this stereotype and is recognized to be one of Genesis of Nollywood and Representation of
the second generation filmmakers who helped begin Women
the video film era of Nollywood. There is also Nollywood is the name by which the Nigeria film
Emem Isong who already started writing and industr y is popularly known. The word
producing films in a male dominated industry as “Nollywood” have no definite beginning and
early as 1990s. Onuzulike (2008, p. 25) emphasizes that Nollywood
“is imitative of Hollywood in the same way that
Statement of the Problem “Bollywood” was derived from joining Bali and
Overtime, it has been observed that sufficient media Hollywood to describe the film industry of India.”
platform and awareness has not been properly given The colonial government (British) used film such as
to women filmmakers. Inadequate female documentaries as a tool to programme their
filmmaker experts and role models in the profession principles as well as to promote religious
is also part of the problem. Thus, the following propaganda without putting the colonies interest in
questions would be answered by this study: mind.
What is the relevance of women filmmakers in The first film was exhibited in August 1903 at
Nollywood? the Glover Memorial Hall in Lagos. This was during
Are women filmmakers of any significant the silent era of filmmaking. Akande (2017, p.1)
importance to Nollywood filmmaking? believes “that the earliest and first feature film in
What are the contributions of women Nigeria is titled Palaver (1926) directed and
filmmakers to the Nigeria film industry? produced by Geoffrey Barkas which also was the
first film that casted Nigerians in speaking role”.
Objectives of the Study The documentaries shown by the colonial
The objectives of this study are to: government did not satisfy the masses because the
1. ascertain the relevance of women filmmakers in documentaries shown were propagandas. Then
the development of Nollywood feature cinema came to be another form of
2. evaluate the significance of women filmmakers entertainment, which was common in Lagos.
in Nigeria; and Agbanoma (2007, p.8) in this situation emphasizes
3. examine the contributions of women that:
filmmaker.
Cinemas became a common feature of the
Research Methodology social life in the emerging lagoon city of
The methodology that is adopted for this paper in Lagos in the late 1930s and early 1940s.
acquiring the relevant information needed to Indeed before this period, cinema
examine women filmmakers' emergence and their operations seem to have been limited to
contributions in Nollywood is the qualitative comparatively small scale cinematograph
method. The primary data was derived from exhibitions. The establishment of big
examining two films by two women filmmakers in commercial cinema houses with branches
Nollywood while the secondary data was got from in strategic parts of the country only began

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DIVINE B. O. Emergence of Nigerian Women Filmmakers and Their Contributions to Nollywood

in the late 1930s. establishment of Nigeria Film Corporation in 1979

that helped filmmaker to access funds and resources.
The establishment of commercial cinemas changed The success of Nigeria filmmaking and production
the state of affairs a bit with more Nigerian contents came crashing when the economy of the country
exhibited in the cinemas than before, as part of the started to run down and this in turn led to the
drive to decentralize colonial film production. devaluation of the Naira, insufficient production
Effiong and Iseyen (2017, p. 77) state that: “This funds and lack of film stock resources which was a
demonstrates the point that colonial authorities challenge for the filmmakers making film in
employed films to dismantle the social and cultural celluloid.
status of Nigerians, and therefore perpetuated their At that point, the post production process
power throughout the country.” In agreement with became very expensive, which required travelling
Effiong and Iseyen, the colonial government made abroad. Due to the devaluation of the Naira, trips
films to pull apart the culture of Nigeria and her abroad for post-production processes was difficult
people to perpetuate their divide and rule policy. and expensive, leading to shortage of standard film
However, after the establishment of the Nigeria studio and production equipment. All these
Film Unit, the films made were films against the happened due to the introduction of the Structural
colonial films. Films that promote and uplift the Adjustment Program (S.A.P) introduced by the
culture of Nigeria and her people. military dictatorship of that period. Odedina (2017,
After Nigeria's independence in 1960, the p. 56) adds that:
Nigeria Federal and State units replace the Colonial
Film Unit and following the Colonial government During the period, majority of the populace
footstep, showing documentaries and newsreels to in Nigeria suffered poverty as a result of the
promote the Nigerian government ideologies. SAP programme, where the Nigerian
Effiong and Iseyen (2017, p.77) emphasise that currency became worthless in comparison
“Nigerians started the development of television to the developed nations. This was actually
dramas in the early 1960s as a means to educate the the catalyst that hastened Nigerian video
people about Nigeria and Nigerians instead of the industry's evolution from celluloid film.
foreign product that came from the colonial
government”. The factors above lead to a great decline in the
Nigeria independence in 1960 lead to an cinema culture and film production in Nigeria.
opening in film production by Nigerians, using Cinema houses were being shut down or turned into
celluloid method of filmmaking as was the practice religious meeting places, trips abroad for post-
then. The success of independent indigenous production processes could no longer be paid for
filmmakers like Ola Balogun who produced and because of the devaluation of Naira in early 1990s.
directed Amadi (1975) and Ajani Ogun (1976) was In addition, Odedina (2017, p. 57) recalls that:
said to be the start of indigenous filmmaking in
Nigeria. This opened an opportunity for theatre The implication of the SAP programme on
practitioners to move to the big screen, including cost of production was that where one
their travelling troupes, and turning some of their needed a few tens of thousands of the local
stage performances to film. Theatre practitioners currency (the Naira) to purchase and
such as Hubert Ogunde, Moses Olaiya, Ade process film stocks in the UK, for instance
Afolayan were known for migrating from stage to before SAP, post-SAP meant the same
screen in the 1980s, bringing their stage attributes production would now cost several
into films. hundreds of thousands of the same local
Filmmaking and its production in Nigeria currency.
became very successful which led to the

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DIVINE B. O. Emergence of Nigerian Women Filmmakers and Their Contributions to Nollywood

The above is Odedina explaining fully the difference with better production quality and professional
in value of the local currency (Naira) before SAP aesthetics.
and after SAP and its consequences on filmmakers There have been developments in Nigeria and
in Nigeria. The producers, thus, tried to find the world as a whole on women rights, women
alternatives to the new realities in a bid to survive having their own voices heard and making decisions
and the most obvious one to them after trials and on their own. Although the patriarchy dominance
errors is video film production. still happens in some places (Nigeria included), it is
The structural Adjustment Programme of the not as rampant as it was before this present moment.
1980s forced filmmakers into Video as another Nollywood has contributed to the undermining
alternative and means of filmmaking in Nigeria. It is of women confidence in the society through the
less expensive and the post production process is portrayal of women losing self-assurance and
easier compared to celluloid. There have been confidence in themselves and also feeling inferior to
various accounts of the origin of video film in men. Some films have been made to break women
Nigeria, with many not in agreement with from the yolk of stereotypes, because they discussed
Onuzulike (2008) who states that an Ibo-language issues on girl child, women empowerment, and
production called Living in Bondage, produced by women rights. Women filmmakers have attempted
Ken Nnebue in 1992, ushered in the birth of to make films that would portrayed women
Nollywood. This study opines that the cumulative differently from what some male colleague
efforts of the 1970s and 1980s productions led to portrayed women to be in their films. Ukadike
what we know now and is globally acknowledged as (1994, p 104) credits Safi Faye from Senegal as the
Nollywood. first woman filmmaker in Africa, with her film
The first video films produced in Nigeria was Kaddu Beykat (1975) which was distributed
Ekun (1986) by Alade Aromire and Soso Meji (1988) commercially.
by Ade Ajiboye. However, although Living in In Nigeria, there is no woman credited to be the
Bondage (1992) is seen as the first commercial first woman filmmaker as it is credited to French
popular video film, several film historians and woman Alice Guy-Blache as the first woman
scholars like Odedina (2017) and Oyewo (2005) filmmaker in the world and the first woman to own a
have argued that the video film industry was already studio. Tangcay (2020, p.1) admits that:
flourishing before Living in Bondage (1992).
Nigerian producers and filmmakers moved to Alice Guy- Blache was the first woman to
video because celluloid became unaffordable to direct a film. She helmed or produced over
them due to economic problem, while video opened 1,000 movies, in addition to writing, editing
doors for mass production because video is cost and set decorating many of them. Guy-
effective unlike celluloid. In quality of aesthetics Blache also cast interracial actors long
however, the video film production is inferior before Hollywood ever did. But she is
compared to celluloid production and lacks hardly a household name….
professionalism unlike in the 1970s. The video film
production was mainly for profit making and not One prominent woman filmmaker in Nigeria was
putting professionalism into consideration. Amaka Igwe, who is well known among filmmakers
The popular thriller film made on digital camera in Nigeria before and after her death in 2014. Amaka
by Kunle Afolayan, The Figurine (2009), is Igwe was recognized as one of the second
considered the game changer for Nollywood, generation filmmakers in the video era of
gaining attention from the media and people home Nollywood. In 2016 a documentary was dedicated
and abroad. The film was a commercial and critical to her titled Amaka's Kin: The Women of Nollywood
success in Nigeria. As the technology improved, (2016) directed by Tope Oshin, which talks about
filmmakers began to move to digital photography, the journey and challenges of women directors in

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DIVINE B. O. Emergence of Nigerian Women Filmmakers and Their Contributions to Nollywood

Nollywod. Several women directors like Tope It appears so easy for any male to go into filmmaking
Oshin, Jadesola Osiberu, Mildred Okwo, Ronke without the fear of stereotypes, funding or even
Macaulay Omoni Oboli, Stephanie Linus, Ema much work to be recognized and accepted in the
Edosio, Michelle Bello and many more featured in society. The case is different for women because
this documentary where they talked about their being a woman who desires to be a filmmaker in a
struggles and journey as women and filmmakers in society that believes a woman's place is in the
Nollywood and how Amaka Igwe has inspired them kitchen and taking care of the home and children is
in their career. Amaka Igwe was popularly known an additional burden that their male counterparts
for film and TV productions like Rattle Snake (1995), don't have to deal with. In recent times there have
Violated (1996), A Barber's Wisdom, Fuji House of been some improvements, not fully, but some
Commotion (2000s), and Checkmate (1991-1994). noticeable changes of women behind the scene
There is also Emem Isong who started writing and taking up active roles.
producing films in a male dominated industry in the
early 1990s when she produced and wrote her first Nollywood Women behind the Camera
film Jezebel (1994). Women in Nigeria as a whole have fought to make a
Women filmmakers, in addition to the primary place and find a voice for themselves on their own
assignment of entertainment, also live under the through protests, movements, films and articles and
microscope of their audience. Filmmaking is not a so on. It is of no doubt that the Nigeria women
one person job; it entails different people in different filmmakers have hugely contributed to the economy
fields that make up the production of a film. Ukata of the country with films which made millions in the
(2010) particularly adds that: “The patriarchal box office, pro viding employment for thousands
nature of the Nigerian society may have been one of and keeping the circulation of money moving. They
the factors responsible for the late entrance of have made history and changed history in the
women into movie production in Nigeria as Nollywood, women like Kemi Adetiba, Funke
directors, producers, editors and cinemato- Akindele-Bello, Bolanle Austen-Peters, Jade
graphers”. Osiberu, Genevieve Nnaji, Mo Abudu, Mildred
Women are now behind the camera taking up Okro, Omoni Oboli, Tope Oshin, Ema Edosio and
major roles, but this has not given women many more. These women have produced films
filmmakers the respect, honour and award that they which are directed by women filmmakers and have
deserve. Women are being neglected and underrated all changed film history in Nollywood.
when on set, faced with challenges as filmmakers. This paper focuses on two films made by two
Utor (2017, p. 7) discusses the challenges women different women behind the screen and which have
face as filmmakers during a one on one interview given strong backbones to the female characters
with Michelle Bello, where she states that: instead of being stereotyped in the typical
patriarchal screen roles of Nollywood. Genevieve
I had a recent experience with a group of Nnaji's Lionheart (2018) and Omoni Oboli's Wives on
men. We were working on a movie project Strike (2016) are the two female filmmakers in
together and they brought me in as the question. They have been able to break stereotypes
producer. As the only woman on the table, it in the society, from being on the screen to going
was like, 'oh, you are a woman; you don't behind the screen and calling the shots.
really need the money. You are a wife; your Making her directorial debut film Lionheart
husband will pay for whatever you need.' (2018), Nnaji's film has taken a different turn by
And I said, 'no; this is what I am worth. This embedding Igbo culture and female empowerment
is my fee; this is for my time and energy. I together in a film. The Igbo is among the well-
know what value I will bring to the project. known and popular major tribes in Nigeria, and it
also known to be patriarchy in nature. Lionheart is set

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DIVINE B. O. Emergence of Nigerian Women Filmmakers and Their Contributions to Nollywood

in a family where gender unfairness does not exist. health complications and an endless circle of
Adeeze is allowed to work at the family company poverty and misery.
alongside with her father without her gender being Oboli and Nnaji have both made films that have
put into consideration. Adeeze's younger brother narratives on activism and change, on female
Obiora, who wants to be a musician and has no empowerment, the girl-child which have helped in
interest in the business, in a typical Igbo home reshaping societal norms. These women have
would have insisted that being the son, he works at contributed to Nollywood, changing narratives and
the family company because of his gender and not only making films for profit alone, but making
apparently heir to the company because he is the son and leaving an impact on their audiences and the
of the family. society.
Nnaji has been able to change the narratives of
the Igbo culture and female empowerment with her Findings
directorial debut film Lionheart. Chief Obiagu (her During the course of this paper on contributions of
father) has not seen Adeeze for her gender but for women filmmakers in the Nollywood using two
her capability and strength, and he is not a man who films as case studies, it has been shown that
believes that a male child is better than a female Nollywood is still undergoing some societal
child. The film showcases positive representations stereotype reviews of female roles in the
and environment that allows both the female entertainment sector both in front of and behind the
empowerment and Igbo culture as compatible by camera. The findings, therefore, were that the
not negating the female child and allowing her to contribution of women filmmakers are the core of
purse her dreams regardless of her gender. The film the changing narratives of the stereotypical
has not only centered on just the female gender issue narratives of women in Nigeria and the fact that
alone, but also the male gender, family and love. several women have become relevant in their own
Omoni Oboli's Wives on Strike (2016), on the rights which has enabled them to use this leverage to
other hand, is another film dedicated to the evil of tell their stories both in front of and behind the
child for bride all over the world. The film has a story cameras.
of activism and change. A film directed by Oboli is In addition to the above, the success of such
about a group of women in a community who movies by women that have taken chances in
denied their husbands sex in protest of standing up changing the narratives of Nollywood films by
for a young girl who was bound by her father and going against the norms have also contributed to
against her mother's will to marry an elderly man. some male filmmakers exploring the subject that
Other women follow suit and these protests seems as taboo until recently. These women
stirred a nationwide strike, where women deny their filmmakers have become significant in Nollywood
husbands sex including sex workers as well. These through their various contributions. Through their
strikes and protests attract the world's attention with work, the scope of women portrayals and control
women around the globe protesting and going on behind the camera has been greatly expanded.
strike in solidarity.
The film director Omoni Oboli was able to Conclusion
create a comical film while still retaining its message Nollywood is growing rapidly and has been
on child marriage. Using humor to pass a message to changing over the years, gaining world recognitions
it audiences, the film is on a fight and protest against and collaborations. Women filmmakers have
child marriage, using hashtag #childnotbride. Child contributed greatly to this growth and popularity of
marriage is a form of contemporary slavery given to Nollywood. The study, therefore, concludes that
the master against their own will, not having a voice more women need to take charge behind the
of their own, passing through traumatic experience. camera, taking roles that continue to define and
This further leads to a child birthing a child, having redefine Nigeria women multifaceted

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DIVINE B. O. Emergence of Nigerian Women Filmmakers and Their Contributions to Nollywood

characteristics and getting more involved in the Nnabuko, J. O., & Anatsui, T. C. (2012). Nollywood
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do with their physical strength, but their mental selected Yoruba video films. Unpublished Doctoral
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