Relatively fresh scenes within the industry, Nollywood and Korean Cinema have not held back in what has been seen as influential content which has attracted the western world. Nollywood and the movement known as the ‘Korean Wave’ have established quite renowned placement within the entertainment industry where their works can be easily accessed through an array of platforms.
Nollywood is the term given to the Nigerian film industry. Emerging in the 1990’s, it has achieved unprecedented success in the homeland (Okome, 2007.) Though, when first introduced to this industry I thought “Surely, they mean Hollywood or Bollywood” as they are undoubtedly familiar. Nollywood gained international recognition for it’s films in the early 2000’s and In 2007, an estimated 1,687 feature films were produced in the country and put straight onto video for distribution rather then the more conventional theatre debut claiming them a spot on the podium at the thirds biggest film industry in the world, surprisingly with the industry’s young age and ‘shoestring budgets’ (Okome 2007). They show a mixture of melodrama often with middle class and upper class citizens, but with a high infusion of animist and magical culture providing solutions to problems that wouldn’t crop up in a Hollywood drama. The films encompass traditional characters and situations as well as television serials imported from places like Venezuela, Argentina, Mexico, Korea — countries that produce large numbers of TV soap operas.
Nollywood has seemed to start walking on its own, and this can be seen as an example of anti-globalisation. Today’s mainstream cinema depicts globalisation in all forms, whereby Nollywood’s organic nature displays itself as graffiti not being visible to all eyes around the country, but extensively present (Andrews, 2009)
In the same standards and dancing on the same bandwagon is Korean Cinema, it too has generated great success, impacting collectives of people globally. The Asian market for popular media has become that of a phenomenon with the advancement in social networking and content sharing. Korean film has increased drastically in popularity as seen by online broadcasters, placing at the 7th highest film producer in the world, with national film attendance totals by 2000 exceeding 70 million (Ryoo, 2009).
It is now one of the biggest exporters of music, film, and TV series in the Asian pacific. One popular example that made it to a western audience with an abundant of western influences was Psy’s “Gangnam Style” viral video.
It raised awareness for the genre of Korean pop music in the world, whom “are often seen as showing a fuller affinity for the region’s character, and to express more soulfulness than Western music”( Ryoo, W., p.140). The UN Secretary-General Ban Ki-moon praised it as a force for world peace, saying: “There are no languages required in the musical world…Through this promotion of arts we can better understand the culture and civilisations of other people…” (Heal, 2013). The flow of content across different platforms has allowed Korean cinema to take full advantage of the world wide web and establish a strong fan base internationally, the South Korean government stated the success of ‘Gangnam Style’ brought $13.4 million to the countries audio sector. (Sherwin, 2012).
Nollywood and Korean Cinema have emerged themselves in the entertainment industry and ultimately the world in terms of film, television and music. Not only has it generated revenue for each nation but it also has shared with the world the importance of their cultural identity, sharing messages that are globally alike and understood with many audiences.
- Andrews, D 2009, ‘What Is Nollywood?‘, Yale Insights, [Accessed 01 September 2015] < http://insights.som.yale.edu/insights/what-nollywood >
- Heal, C 2013, ‘Change The World…Gangnam Style’, EXPRESS, < http://www.express.co.uk/expressyourself/360503/Change-the-world-Gangnam-style >. [Accessed: 01 September 2015]
- OfficialPsy. (2012). PSY- GANGNAM STYLE. [Online Video]. 2012. Available from:https://www.youtube.com/watch?v=9bZkp7q19f0. [Accessed: 01 September 2015].
- Okome, O (2007). ‘Nollywood: spectatorship, audience and the sites of consumption’ Postcolonial Text, 3.2, pp. 1-21.
- Ryoo, W. (2009). Globalization, or the logic of cultural hybridization: the case of the Korean wave. Asian Journal of Communication, 19(2), 137-151.
- Sherwin, Adam (November 12, 2012). “Gangnam Style isn’t a one-off – Major music industry report says future pop sensations will be YouTube-driven globalised acts from Asia and South America”. The Independent (London). [Accessed: 31 August 2015]