Disrupting the Netflix hegemony in Nollywood
The case of A Tribe Called Judah
Bibliographic Data
| ID | 12918270 |
|---|---|
| Authors | Wunpini Fatimata Mohammed (0000-0001-9251-5930, Cornell University, corresponding author), Charity Markus Fawe (University of Georgia) |
| Year | 2025 |
| Volume | 18 |
| Issue | 4 |
| Pages | 346-353 |
| Publication date | 2025-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Communication Culture and Critique (JOURNAL) |
| Journal identifiers | ISSN: 1753-9137 • E-ISSN: 1753-9129 |
| Publisher | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1093/ccc/tcaf039 |
| OpenAlex | W4416711319 |
| Language | EN |
| References cited | 10 |
Since Netflix started expanding its reach to the Global South, some scholars have raised concerns about cultural imperialism. Contextualizing Nollywood within discussions of global media flows, contra flows and platform imperialism, we examine how the industry has evolved in production and distribution in recent times. Using A Tribe Called Judah (Akindele & Owu, 2023), we analyze the complex evolving relationship between two media powers: Netflix and Nollywood. We argue that although streaming platform collaborations with Nollywood can bring some advantages, it does not erase Nollywood’s ability to produce and distribute successful movies independently; demonstrating the existence of two media powers encountering and shaping each other. This partnership also raises concerns about Nollywood’s change in audience focus and cultural representation in its expansion bid. We assert the importance of Nollywood adopting a conscious representational model to appeal to and retain its Nigerian audience
Appeal · Focus (optics · General partnership · Hegemony · Popular media · Representation (politics · Tribe · Gender, Feminism, and Media · Media Studies and Communication · South Asian Cinema and Culture
| Highly cited | No |
|---|