The Popularity of Nigerian And Indian Films

Combining Fast Streaming with the new audio and video codecs brings a greatly improved online video experience to consumers and makes online distribution of films via video on demand services even more attractive to consumers and film distributors.


Since its inception in the 1990s, the burgeoning Nigerian movie scene has bloomed into a $286 million business annually, despite the fact that films have minimal budgets (ranging from $10,000 to $25,000) and sell for just a few dollars apiece. What this industry does have is volume, with some 300 directors churning out an average of 2400 films annually. This lightning-quick turnaround also allows directors and producers to make films with plotlines that Streaming VF reflect the rapidly changing political and cultural climate, often weaving in aspects of current events. Africa still has people living on $1 a day, and these are the people that really watch these films.


The cost of sending films out to theaters across the country and around the world is fixed today based on the cost of the film prints themselves, anywhere from $1200-2000 per theater. Currently theater owners are only set up to receive 35 mm films. The Indian film industry is the largest in the world in terms of number of films (877 feature films and 1177 short films made in India were released in the year 2003 alone); compared with 473 films released in the US in 2003. Indian films are gaining increasing popularity in the rest of the world, especially in countries with large numbers of expatriate Indians. On July 7, 1896, an agent who had brought equipment and films from France first showed his moving pictures in Bombay. Phalke’s company alone produced about a hundred films. This is evident not only in Raja Harishchandra, but also in historical–stunt films such as Diler Jigar/Gallant Hearts (SS Agarwal; 1931) andGulaminu Patan/The Fall of Slavery (SS Agarwal; 1931), and in theinternational co-productions directed by Himansu Rai and the German FranzOsten. Many films of the time were produced both inthe regional language (Bengali, Marathi), and in Hindi, so that they could be oriented to the larger Hindi-speaking market. The Indian public quitenaturally preferred to see films made in their own language and the more songs they had the better. In those days, the films made had up to 40 songs. The 1930s and 40sWhile addressing social differences of caste, class and the relations between the sexes, the “social” films of the 1930s adopted a modernist outlook in an essentially converging of society. Although this became the model for popular cinema, especially after the decline of regional industries in Maharashtra and Bengal by the end of the 1940s, different strains are observable in the Tamil films of the same period. In addition, directors such as Raj Kapoor, Guru Dutt and Mehboob Khan, while not directly involved with IPTA, created films that reflected a passionate concern for questions of social justice.

Largely studio-based, the films of this era nevertheless incorporated vivid stylistic experimentation, influenced by international currents in film-making. The influence of Neorealismcan be seen in films such as Do Bigha Zamin/Two Measures of Land (Bimal Roy, 1953), a portrait of father and son eking out a living in Calcutta that strongly echoes the narrative of Vittorio de Sica’s Bicycle Thief(1948).

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