ABSTRACT
Rather than pursue characterisations of Nollywood as a maverick industry advancing on the global stage, or as slapdash movies for the masses, this chapter engages with an ongoing media refashioning, or remediation, of Nigerian movies. It should perhaps come as no surprise that the new Nollywood remains haunted by perceived shortcomings of Nollywood's past and present, and that numerous practitioners and critics have seemed eager to draw a line between Nollywood and its new incarnation. In terms of inception and production, Biyi Bandele's adaptation of Half of a Yellow Sun exemplifies most of the characteristics of new Nollywood as described by Krings and Okome. The Half of a Yellow Sun poster markedly differs from much Nollywood promotional imagery, which tends to feature lead actors in close up or medium shots, usually facing the camera in a form of direct address to the audience.
