Nollywood

===Nigerian cinema===
{{Main|Cinema of Nigeria}}

{{Expand section|the other regional (Igbo, etc) film industries and the general English-language cinema |date=August 2015}}
Film-making in Nigeria is divided largely along regional, and marginally [[ethnic]] and [[religious]] lines. Thus, there are distinct film industries – each seeking to portray the concern of the particular section and ethnicity it represents. However, there is the English-language film industry which is a melting pot for filmmaking from most of the regional industries. {{Citation needed|date=September 2017}}

Although the [[Igbo language]] film ''[[Living in Bondage]]'' by Kenneth Nnebue was the first massive nationwide hit of the videotape era,<ref>{{Citation 
| last = Onishi 
| first = Norimitsu 
| title = Step Aside, L.A. and Bombay, for Nollywood
| newspaper = The New York Times 
| date = 16 September 2002 
| url = https://www.nytimes.com/2002/09/16/world/step-aside-la-and-bombay-for-nollywood.html
|access-date=21 September 2023}}</ref> most Igbo film makers prefer to make their movies in English. This leads to the paradox where some of the most popular and beloved actors in Nollywood like  [[Patience Ozokwor]] (Mama G), [[Chinedu Ikedieze]] and [[Osita Iheme]] (Aki and Pawpaw), [[Nkem Owoh]] (Osuofia), [[John Okafor]] (Mr. Ibu), [[Pete Edochie]], [[Kanayo O. Kanayo]] are ethnically [[Igbo people|Igbo]], but have mostly acted in English language movies. These actors occasionally sprinkle their movies with Igbo aphorisms and expressions (e.g. 'Chineke!', 'Tufiakwa!') but the vast majority of the dialogue is in English.

The [[Yoruba language|Yoruba-language]]{{clarify|date=February 2024}}<!--Most of the films listed below in this paragraph are, judging from their Wikipedia pages and their titles, in English and not in Yoruba. The linguistic situation doesn't seem to be different from that of Igbo cinema described in the preceding paragraph.--> cinema is one of the most impactful movie genres of Nigerian cinema, with most of its producers and actors based in the Western region of Nigeria. The [[movie genre]] began in Yorubaland specifically Lagos. The Yoruba-language cinema began as actors of various Yoruba traveling theatre groups began to take their works beyond the stage to delve into movie production using the Celluloid format, as far back as the mid-1960s. These practitioners are considered in some quarters to be the first true Nigerian filmmakers.<ref name=":0">{{Cite web |title=Yoruba Movies {{!}} Yoruba Films |url=http://yorubamovies.com.ng/ |access-date=17 July 2017 |website=Yoruba Movies |language=en-US}}</ref> Movies like ''[[Kongi's Harvest (film)|Kongi's Harvest]]'' (1972), ''Bull Frog in The Sun'' (1971), ''Bisi, Daughter of The River'' (1977), ''Jaiyesimi'' (1980), and ''Cry Freedom'' (1981) fall into this era of a blossoming Yoruba movie industry. Practitioners like [[Ola Balogun]], [[Duro Ladipo]] and [[Adeyemi Afolayan]] (Ade Love) played a significant role when they came out with "Ajani Ogun" in 1976. This film was one of the few huge success that helped put the Yoruba-language cinema on the map, and it was followed by other productions by [[Hubert Ogunde]] and others.<ref name=":0" /> One of the first blockbusters from Nigeria, came from the Yoruba language industry; a notable example is ''Mosebolatan'' (1985) by [[Moses Olaiya]] which grossed ₦107,000 (approx. 2015 ₦44.2&nbsp;million) in five days of its release. The modern film industry started with films such as, [[The Narrow Path (2006 film)|The Narrow Part]], which was also titled [[The White Handkerchief]] by [[Tunde Kelani]]. The stories were adapted from [[Bayo Adebowale]]'s book [[The Virgin (novel)|The Virgin]].

The [[Hausa-language cinema]], also known informally as ''Kannywood'', is also a sub-industry of Nollywood, mainly based in [[Kano (city)|Kano]]. The cinema, which is the largest in [[Northern Nigeria]], slowly evolved from the productions of RTV Kaduna and Radio Kaduna in the 1960s. Veterans like Dalhatu Bawa and Kasimu Yero pioneered drama productions that became popular with the Northern audience. The 1990s saw a dramatic change in the Northern Nigerian cinema, eager to attract more Hausa audience who find Bollywood movies more attractive, Kannywood; a cinematic synthesis of Indian and Hausa culture evolved and became extremely popular. ''Turmin Danya'' ("The Draw"), 1990, is usually cited as the first commercially successful Kannywood film. It was quickly followed by others like ''Gimbiya Fatima'' and ''Kiyarda Da Ni''.<ref name="sheme">{{cite web |last1=Sheme |first1=Ibrahim |title=Bahaushe Mai Ban Haushi |url=http://ibrahim-sheme.blogspot.co.uk/2010/12/kannywood-luta-continua.html |access-date=8 February 2015 |website=Ibrahimsheme.blogspot.com}}</ref> Sunusi Shehu of ''Tauraruwa Magazine'' created the term "Kannywood" in 1999 and it soon became the popular reference term for the industry. By 2012, over 2000 film companies were registered with the Kano State Filmmakers Association.<ref>{{cite journal |author=Gana |first=Babagana M. |date=1 June 2012 |title=Hausa-English code-switching in Kanywood Films. |journal=[[International Journal of Linguistics]] |url=http://business.highbeam.com/438565/article-1G1-304940604/hausaenglish-codeswitching-kanywood-films |url-status=dead |archive-url=https://archive.today/20130216052959/http://business.highbeam.com/438565/article-1G1-304940604/hausaenglish-codeswitching-kanywood-films |archive-date=16 February 2013}}</ref>

The [[Efik-language cinema]], also known as [[Callywood]] is also a sub-industry of Nollywood, mainly based in [[Calabar]] but also include the [[Ibibio language|Ibibio]] and [[Annang]] cinema.  The establishment of [[The Divine Shield Film Academy]] and [[Valianticom Movie Academy]] in [[Calabar]]; and the establishment of [[Empire Film Academy]] in [[Uyo]] and a campus of [[Royal Arts Academy]] in [[Uyo]], the ''Efik/Ibibio/Annang'' cinema is heading into a bright future.