ABSTRACT
Does Nollywood flow through global markets? The question remains controversial—a consequence, perhaps, of the rightful pride with which the industry’s first architects looked upon the autochthonous enterprise. For if Nollywood, a truly “homegrown” cultural practice, developed locally, without foreign subsidy or awareness, then how can it possibly suggest a space of global capitalism? This chapter considers specific formations of capital as key resources informing (and splintering) the development of Nollywood and its relationship to investor nations as well as to specific sites of production and consumption.
