FILM CENSORSHIP

A motion picture rating system is designated to classify films with regard to suitability for audiences in terms of issues such as sex, violence, substance abuse, profanity, impudence or other types of mature content. A particular issued rating is called a certification.

This is designed to help parents decide whether a movie is suitable for their children. Yet, the effectiveness of these suspenders is widely disputed. Also, in some jurisdictions a rating may impose on movie theaters the legal obligation of refusing the entrance of children or minors to the movie. Furthermore, where movie theaters do not have this legal obligation, they may enforce restrictions on their own. Ratings are often given in lieu of censorship.

In countries such as Australia, an official government body decides on ratings; in other countries, such as the United States, it is done by industry committees with little, if any official government status. In most countries, however, films that are considered morally offensive have been censored, restricted, or banned. Even if the film rating system has no legal consequences, and a film has not explicitly been restricted or banned, there are usually laws forbidding certain films, or forbidding minors to view them.

The influence of specific factors in deciding a rating varies from country to country. For example, in countries such as the US, films with strong sexual content are often restricted to adult viewers, whereas in countries such as France and Germany, sexual content is viewed much more leniently. On the other hand, films with violent content are often subject in countries such as Germany and Finland to high ratings and even censorship, whereas countries such as the US offer more lenient ratings to violent movies.

Other factors may or may not influence the classification process, such as being set within a non-fictional historical context, whether the film glorifies violence or drug use, whether said violence or drug use is carried out by the protagonist, with whom the viewer should empathize, or by the antagonist. In Germany, for example, films depicting explicit war violence in a real war context (such as the Second World War) are handled more leniently than films with purely fictional settings.

A film may be produced with a particular rating in mind. It may be re-edited if the desired rating is not obtained, especially to avoid a higher rating than intended. A film may also be re-edited to produce an alternate version for other countries. National Film Video Censors Board is the regulatory body set up by Act No.85 of 1993 to regulate films and video industry in Nigeria. The Board is empowered by law to classify all films and videos whether imported or produced locally. It is also the duty of the Board to register all films and video outlets across the country and to keep a register of such registered outlets among other functions such registered outlets among other functions of the country and to keep a register of such registered outlets among other functions

Cinema of Nigeria

The cinema of Nigeria grew quickly in the 1990s and 2000s to become the second largest film industry in the world in terms of number of annual film productions, placing it ahead of the United States and behind the Indian film industry. According to Hala Gorani and Jeff Koinange formerly of CNN, Nigeria has a US$250 million movie industry, churning out some 200 videos for the home video market every month.

Nigerian cinema is Africa's largest movie industry in terms of both value and the number of movies produced per year. Although Nigerian films have been produced since the 1960s, the rise of affordable digital filming and editing technologies has stimulated the country's video film industry.

The Nigerian video feature film industry is sometimes colloquially known as Nollywood/Kannywood, having been derived as a play on Hollywood in the same manner as Bollywood.

HISTORY

The first Nigerian films were made by filmmakers such as Ola Balogun and Hubert Ogunde in the 1960s, but they were frustrated by the high cost of film production. However, television broadcasting in Nigeria began in the 1960s and received much government support in its early years. By the mid-1980s every state had its own broadcasting station. Law limited foreign television content so producers in Lagos began televising local popular theater productions. Many of these were circulated on video as well, and a small scale informal video movie trade developed.

The release of the box-office movie Living in Bondage in 1992 by NEK Video Links owned by Kenneth Nnebue in the eastern city of Onitsha set the stage for Nollywood as it is known today. The story goes that Kenneth Nnebue had an excess number of imported video cassettes which he then used to shoot the first film. The huge success of this film set the pace for others to produce other films or home videos. Through the business instincts and ethnic links of the Igbo and their dominance of distribution in major cities across Nigeria, home videos began to reach people across the country. Nollywood exploded into a booming industry that pushed foreign media off the shelves, an industry now marketed all over Africa and the rest of the world. The use of English rather than local languages served to expand the market and aggressive marketing using posters, trailers, and television advertising also played a role in Nollywood's success.

Since then, thousands of movies have been released. One of the first Nigerian movies to reach international renown was the 2003 release Osuofia in London, starring Nkem Owoh, the famous Nigerian comedic actor. Modern Nigerian cinema’s most prolific auteur is Chico Ejiro, who directed over 80 films in an 8-year period and brags that he can complete production on a movie in as little as three days. Ejiro’s brother Zeb is the best-known director of these videos outside of the country.

The first Nollywood films were produced with traditional analog video, such as Betacam SP, but today all Nollywood movies are produced using digital video technology. A March 2006 article in The Guardian cited Nigeria's film industry as the third largest in the world in terms of earnings and estimated the industry to bring in US$200 million per year. In 2009,

Unesco described Nollywood as being the second-biggest film industry in the world after Bollywood in terms of output and called for greater support for the industry, which is the second-largest employer in Nigeria.

The Hausa film industry in Kano is very vibrant. In the last 15 years, they have produced over 1,300 films. The first film produced in Kano is called “Turmin Danya”. It was produced in 1990 and since then, Hausa film producers have produced over 1,300 films. But the barrier to the understanding of these films in Kano is language.
They are all in Hausa Language and people who dont speak the language may not have access to them. So, the Hausa films are actually exported to Ghana, Niger, Senegal, Cote d Ivoire, Burkina Faso and other places where there are many Hausa speakers.