Cover -- Title page -- Copyright page -- Dedication -- Acknowledgements -- Foreword -- Contents -- Introduction -- Part 1 - Background of Nollywood - The Contemporary Nigerian Film Industry -- 1.1 Introduction -- 1.2 Film in Nigeria: A Historical Background -- 1.2.1 The Glorious Years of the Cinema Industry in Nigeria -- 1.2.2 The Collapse of the Cinema Industry in Nigeria -- 1.3 Television Drama in Nigeria -- 1.3.1 The Birth of Local TV Drama -- 1.3.2 The Soap Opera as a Precursor of Video Films in Nigeria -- 1.3.3 Mirror in the Sun as Pacesetter -- 1.3.4 The Aftermath of Mirror in the Sun -- 1.3.5 The Decline of the Soap Opera in Nigeria -- 1.4 The Development of Nollywood: The Contemporary Nigerian Film Industry -- 1.5 The Context of Production in Nollywood -- 1.6 The Issue of Film Censorship in Nollywood -- 1.7 The Marketing Approach in Nollywood -- 1.8 Piracy in Nollywood -- 1.9 Summary -- Part 2 - Studies in Genres in Nollywood -- 2.1 Introduction -- 2.2 Understanding Genres -- 2.3 Genres in Nollywood -- 2.4 Analysis of Generic Developmental Trends in Nollywood -- 2.4.1 Promotion of Many Igbo Stars -- 2.4.2 Projection of Trained and Non-Igbo Artists -- 2.4.3 The Parts or Sequel Syndrome -- 2.4.4 Simultaneity or Back-to-Back Productions -- 2.4.5 Evolution of an Iconography -- 2.4.6. Scriptwriters and Plagiarism -- 2.4.7. Stereotyping and Type-casting -- 2.4.8 Women as Sex Symbols -- 2.4.9 Guilds System -- 2.4.10 Remuneration of Artists -- 2.4.11 Rise of Film Directors -- 2.4.12 Censorship -- 2.4.13 National and International Market -- 2.4.14 Alternative Film Market -- 2.4.15 Piracy in the Industry -- 2.4.16 Lack of Institutional Support -- 2.4.17 Revenue Generation for Broadcast and Advertising Industries -- 2.4.18 Co-Productions -- 2.4.19 Film Awards -- 2.5 Summary.

Part 3- Epic and Historical Films in the Reconstruction of the Nigerian Past in Nollywood: A Critical Reading of Igodo and Egg of Life -- 3.1 Introduction -- 3.2 The Nature of History -- 3.2.1 Sources of History -- 3.2.2 Oral Tradition and Historical Reconstruction -- 3.3 Film as History -- 3.4 The Nature of the Epic Film -- 3.5 Historical Reconstruction through Epic/Historical Films -- 3.6 The Development of the Epic Genre Films in Nollywood -- 3.7 A Critical Reading of Igodo: Land of the Living Dead -- 3.8 A Critical Reading of Egg of Life -- 3.9 A Comparative Analysis of Igodo and Egg of Life -- 3.10 Summary -- Part 4 - Failure of the Policing System and the Emergence of Vigilante Genre Films in Nollywood: A Critical Reading of the Issakaba Series -- 4.1 Introduction -- 4.2 The Rise of Criminal Activities in Nigeria -- 4.2.1 Brutality and Disregard for Human Life -- 4.2.2 Cultism and Ritual Practices -- 4.2.3 Armed Robbery -- 4.3 Policing and the Nigeria Police -- 4.4 The Failure of the Policing System in Nigeria -- 4.4.1 Police Brutality, Rights Abuses and Ineptitude -- 4.4.2 The Nigerian Police as Friends -- 4.5 The Rise of Vigilantism in Nigeria -- 4.5.1 The Odua Peoples' Congress -- 4.5.2 The Movement for the Survival of the Ogoni People (MOSOP) -- 4.5.3 The Egbesu Boys of Africa -- 4.5.4 The Arewa People's Congress and Hisbah Groups -- 4.5.5 The Bakassi Boys -- 4.6 The Agitation for Regional Police in Nigeria -- 4.7 A Critical Reading of the Issakaba Series -- 4.8 Summary -- Part 5 - Portrayal of Politics and the Political Process in Nollywood: A Critical Reading of The Senator and Masterstroke -- 5.1 Introduction -- 5.2 The Concept of Politics -- 5.3 Forms of Government -- 5.4 Perspectives on Nigerian Politics -- 5.5 The Political Context of The Senator and Mastertroke -- 5.5.1 The Search -- 5.5.2 The Moment of Decision.

5.5.3 The Time for Rebate -- 5.6 Film and Politics -- 5.7 A Critical Reading of The Senator -- 5.8 A Critical Reading of Masterstroke -- 5.9 A Comparative Analysis of The Senator and Masterstroke -- 5.10 Summary -- Summary and Conclusion -- Bibliography -- General Index -- Name Index -- Back cover.