Nkem Owoh Clarifies Historical Distinction Between Home Video and Nollywood

Veteran Nigerian actor Nkem Owoh, popularly known by his iconic character name Osuofia, has moved to clarify recent public discourse surrounding the origins of the Nigerian film industry. In a recent statement reported by Daily Post Nigeria, Owoh addressed claims that he had credited the Yoruba ethnic group with the founding of Nollywood, asserting that his previous comments were specifically focused on the history of home video production in the country.

Distinguishing Home Video from Nollywood

Owoh emphasized that there is a critical distinction between the practice of making home videos and the formal adoption of the term “Nollywood.” According to the veteran actor, the industry did not operate under the “Nollywood” moniker during its formative years. He stated, “I never said Yoruba started Nollywood. When did Nollywood come out? When we started film, there was no Nollywood as a name.”

He explained that the term was a later addition, adopted only after collaborative discussions among the early participants in the industry. By separating the timeline of the industry’s branding from its practical origins, Owoh seeks to correct what he describes as a misunderstanding of his earlier remarks.

The Role of Yoruba Filmmakers in Early Production

While clarifying that Yoruba filmmakers did not “start” Nollywood as a branded entity, Owoh acknowledged their foundational role in establishing the home video format. He specifically highlighted the contributions of veteran filmmaker Hubert Ogunde, whose work helped popularize the medium.

“Ogunde is not Igbo. I am telling you that Yoruba started it,” Owoh stated, referring to the home-video tradition.

Owoh’s comments suggest that while the cultural and technical framework for Nigerian home video was pioneered by Yoruba practitioners—with figures like Ogunde at the forefront—the subsequent evolution into the global phenomenon known as Nollywood was a separate, later development involving a broader coalition of filmmakers.

Contextualizing Industry History

The history of the Nigerian film industry is often a subject of debate, particularly regarding the transition from celluloid cinema to the direct-to-video era that defined the 1990s and early 2000s. Owoh’s intervention highlights the importance of precise terminology when discussing the industry’s rapid growth. By distinguishing between the “home video” movement and the “Nollywood” brand, he aims to provide a more nuanced view of how the industry transitioned from local video productions into the organized, internationally recognized sector it is today.

The source report does not provide specific dates for when these discussions regarding the “Nollywood” name took place, nor does it detail the specific internal meetings that led to the adoption of the term. Owoh maintains that his position has been consistently misunderstood and reiterated that his intent was to honor the pioneers of the home video format without conflating it with the later naming of the industry.

Conclusion

Nkem Owoh’s clarification serves as a reminder of the complex and multi-layered history of Nigerian cinema. By distinguishing between the early home video tradition and the later branding of Nollywood, Owoh highlights the collaborative and evolving nature of the industry. As the Nigerian film sector continues to gain international prominence, such historical distinctions remain relevant to understanding the contributions of various pioneers who helped build the foundation of the industry.

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p class=”vbna-source-note”>Source: Daily Post Nigeria

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