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Here is an abridged variation (yet richly enlightening) from among the write-ups i composed concerning this topic.<br><br>Film exhibition began to prosper during the Colonial era, with Glover Memorial Hall playing host to an array of unforgettable movies seen by "possible Nigerians", in August 1903. However, the non-availability of correct records mirroring the title of the launching film exhibited has created a lapse in the precedent stock. Notwithstanding the lacuna, the means had been paved for the exhibit of even more foreign films at the Hall and various other designated locations.<br><br>The mentally traumatizing "Master - Servant" relationship, evident in the continuous attacks, batteries, intimidation, segregation, victimization, carried out by the Colonial masters on the colonized, with darkened clouds of animosity, vengeance, thirst for liberty, paving the way to splattering drops of such thoughts, intuitively projected with the colonized periodic in-subordinate activities, started to spread out amongst the blacks. The British understood they had to thread with caution if they still wished to play "god" in their lives when movies such as Tales of Manhattan, Trailer horn, Tarzan collection started to stimulate a revolution in the hearts of Blacks around the world.<br><br>[http://en.wiktionary.org/wiki/Familiar Familiar] with the fatal power of insurgency which might be let loose through the Film medium, the British from worry for their lives and feasible loss of the Queen's sovereignty took the bull by the horn, and promptly developed a Colonial Film Censors Board (FCB) in 1933 to censor and classify films before they were released for visual consumption by the public. Following the facility of the board, Films such as "The primitive, primitive man, Dixie, Buffalo Bill, The Keys of the Kingdom, Sleepy Town Girl were tagged 'suitable' to be seen, while Dr Jekyll and Mr Hyde, Clive of India, The Isle of Forgotten Sins, House of Frankenstein were considered improper for viewing.<br><br>The Censor's body underwent a transformation process into the Federal Board of Film Censors (FBFC) from the aforementioned, and the laws from which the changed body derived its powers varied from the 1948 Cinematograph Laws of Nigeria, the Cinematograph Laws of 1963, to the 1963/64 Cinematograph Law and Regulations. The present National Film and Video Censors Board came into existence by virtue of decree, now Act 85 of 1993. The introduction of Nigeria's Independence (1960) and the Republican status (1963), proclaimed the dawn of a new period in all sectors.<br><br>"The Yoruba Travelling Theatre Group" of the 60's and 70's can be described as the "Fountain Head" of movie productions in Nigeria. The veterans with wonderful Theatrical skills and piece de resistances took their works past the stage, and dove into the sea of film manufacturings making use of the Celluloid format. Significant movie makers on the Roll call of Honour during the Celluloid boom period of the 70's include Ola Balogun, Eddie Ugbomah, late Herbert Ogunde, Adeyemi Afolayan a.k.a Ade Love (dad of Kunle Afolayan of the Irapada fame), Ladi Ladebo, Moses Adejumo, Adebayo Salami and Afolabi Adesanya.<br><br>The list of recorded movies produced during the 70's period and going beyond rather into the 80's is simply astonishing and goes to show that the Movie Industry has actually been around much longer, contrary to the '1992 belief syndrome' most have been injected with. Such works include Kongi Harvest (1971), Alpha (1972), Bull Frog in the Sun (1974), Amadi (1975), Ajani Ogun (1975), Muzik Man (1976), Bisi, Daughter of the River (1977), Ija Ominira (1978), Aiye (1979), Kadara (1980), Jaiyesimi (1980) Efunsetan Aniwura (1981), Cry Freedom (1981), Ija Orogun (1982) Owo L'Agba (1982).<br><br>The expense of producing films in that age was financially back breaking, with Nigerians further discouraging the efforts of the filmmakers by opting to view films of oriental and occidental origin at the Cinemas and Exhibition centres, instead of the in your area produced ones. The Cowboy movies were thrilling to see while the Chinese films paraded among others, the Legendary "Bruce Lee" in (Lo Wei's, The Big Boss (1971), Fist of Fury (1972), Way of the Dragon (1972), Enter the Dragon (1973), The Game of Death launched in 1978) who displayed Martial Arts dexterity, obviously a fighting method alien, yet remarkable to us at that time.<br><br>Indian movies in the late 60's and well into the 70's paraded popular names like Rajesh Khanna, Dharmendra Singh Deol, Mumtaz, Amitabh Bachchan, Anil kapoor, Hema Malini, and produced hits such as "Bobby", "Sholay", "Kabhi Kabhi", "Dharamveer", "Amar Akbar Anthony". Their stars showed wonderful acting abilities against the background of love themes, and ear pleasing songs combined with harmonized dance steps, produced with sound and special effects, though unparalleled with what obtains today ordered over the indigenes commitment for their films.<br><br>Thus, the Movie Founding Fathers started to face the challenges of recouping their financial investments, which slowly became basically an impossible task, an anthem they regularly rendered much to the pain of prospective financers. They counted their losses and licked their injuries sustained in the monetary struggle with every movie they released. The deluge of VCRS in the 80's created a paradigm change from the Cine to the VHS format, makinged productions easier, quicker and less costly by a milestone in comparison to the former. Movie theater residences and other Exhibition centres were finally shut down and the Baton of Cine movie making slipped from the hands of the Founding founders as they tried to hand over the movie baton to the next generation within the stated Baton Exchange Zone. The imagine becoming a re-nowned Movie Industry was shattered when the flow of the Film Relay cycle was broken.<br><br>Home Videos were produced which served as an alternative to the cinemas, and the name normally comes from the fact that you could seat within the convenience of your home and view the films produced in the VHS format via your VCR. Film Makers profited from the gains of the Home Video principle provided, and started producing movies utilizing the Yoruba language as the ways of interaction. Nevertheless, the year "1992" has overtime been commonly accepted as the triggering duration of Home Video productions, with Ken Nnebue's "Living in Bondage" said to be the first movie produced commercial purposes using the Igbo/[https://www.Vocabulary.com/dictionary/English English] language.<br><br>The film no doubt struck the "Movie Well", which invoked a mass exodus of individuals from other realms into the art of film manufacturings, having seen the opportunities that lay in the Gold mine area. Hence, did the Home Video Industry identified "Nollywood" emerge.<br><br>The reality that "Living in Bondage" was ascribed with the honor of being the first movie made for commercial purposes and the one upon which the Home Video revolution was allegedly based on, culminating into Nollywood, didn't go undisputed. Late Alade Aromire prior to his death, fired up a questionable fire, insisting that his and not Ken's movie ought to have been conferred with such an honor. When confronted by a press reporter on the concern he  had actually mentioned that Ken had produced over 40 Yoruba movies, and had actually begun with "Aje N'yami".<br><br>There had been a growing movie sector before he came on board, so ken couldn't have actually started it.<br>The confusion comes from the Censors board of the day, whose hands were amputated by the Law it drew its powers from, (1963/64 Cinematograph Law and Regulations). The powers conferred on it to control the Industry did not extend to "Home Video". Today National Film and Video Censors Board (NFVCB) did not exist till 1994. On this raging concern, Late Alade Armoire produced films such as Ekun, Omije (pts 1-3), Obirin Asiko, Ayo ni o, Adun, Orire which were launched to the public in between 1985 and 1991.<br><br>Ken Nnebue still firmly insists that his motion picture "Living in Bondage" was the first Home Video movie made for commercial functions. One can't fall short to discuss the fabulous Eddie Ugbomah's film "The Great Attempt" (1989), which would have made history as the 1st Nigerian cine film in the video tape format to have been censored by the defunct Federal Board of Film Censors (FBFC) based on a "special concession" provided him officially by the long-term secretary of the Federal Ministry of Information and Culture at that time.<br><br>Regrettably the strong components projected in the motion picture were considered unacceptable for public viewing by the Board, for this reason the film was never ever released. Tunde Alabi -Hundeyin's "Iyawo Alhaji" is officially on record as the first commercial (direct to exhibition hall) video movie to be censored and categorized by the NFVCB in 1994 at the National Theatre, (Cinema Hall) Iganmu. Regardless of the controversial fire raised, the worldwide publicity offered to "Living in Bondage" over the years usually imputed the film into our memory banks as the flag bearer of the Home Video transformation of perpetuities. People, regardless of Nationality, gender, race, and people are challenged with obstacles every day. Some of these troubles are of an international nature, while others are peculiar to numerous societies. Movies provide people the opportunity of informing their own tales, cost-free from unusual disturbance.<br><br>Nigerian film manufacturers leveraged on this and produced films projecting our lifestyle, culture, neighborhood fashion, burning concerns, troubles pestering our society, regardless of the choking stink of tribalism viewed in all sectors. Motion pictures were made for the viewing enjoyment of Nigerians initially, (before the mass exportation fad), with messages to inspire, motivate, reprove, and correct anomalies specifically in the Political, Social systems, to shun violence and all forms of evil.<br><br>The calculated use of the English language as the interaction tool, advertising and marketing methods and execution through using trailers through T. V, Posters (now banned in Lagos State), taped a boost in sales, and expanded the viewership base past the shores of our Nation to nations such as Ghana, Togo, South Africa, Kenya, U.S.An and even the U.K. Regrettably, the movies produced at a disconcerting rate were technically deficient in vital areas considered as germane in the manufacturing process.<br><br>The popular "shoe string budget plan" tag has become associated with the Industry's antecedent of making films on very low budgets compared with various other film bodies in other nations, ($10- $15,000 initially), however presently stretches to $25,000, with a microscopic number of manufacturers further extending the relatively financial limit to N 7,10,20 Million and more. The films were and are still shot dominantly between 10-12 days, through Beta cam (now HDV cameras), were produced in the VHS format (now VCD & DVD), reproduced in mass and offered by the Marketers who also functioned as Distributors.<br><br>Over a thousand motion pictures were being created yearly by manufacturers and entirely amazed by the staggering statistical information of film manufacturings, the International motion picture limelight was shone on the Multi Million naira Industry "Nollywood". The Industry's total assets as at 2008 stood between an estimated $250 and $300 Million dollars.  Bella Naija Weddings is a topic most folks wanna know more about and you can find out more by visiting this website: [http://www.fishermanwiki.com/index.php/User:AntonioYo Bella Naija Weddings]. It deserves note that a Global movie theater survey, carried out in 2006 by the UNESCO Institute for Statistics (UIS) and launched sometime in May 2009, placed Nollywood as the second biggest producing film body in the world behind Bollywood and ahead of Hollywood based on the numerical data of the movies produced.