为怪物寻找统计数据:盗版和尼日利亚电影业的不稳定

Q3 Arts and Humanities International Journal of Film and Media Arts Pub Date : 2023-11-03 DOI:10.24140/ijfma.v8.n2.02
John Iwuh, Nicodemus Adai Patrick, Dominic OluwaGbenga Fayenuwo, Benjamin Uchenna Anaemene, Eunice Uwadinma-Idemudia, Anjola Robbin
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引用次数: 0

摘要

该研究调查了三种类型的利益相关者的盗版行为,而不是光顾大型商店的3%精英人群。这些年轻人代表了在选定城市的郊区发现的大量电影观众。它还考虑了那些大学里的人,他们是电影的主要赞助人,但实际上并没有为电影支付合适的价格。有必要研究尼日利亚盗版的独特性、消费者对盗版产品的认识程度、年轻人的参与程度、其运作方式的独特性、与国外案例的不同动态,以及反盗版机构的有效性。本研究选取了16位低成本电影制作人,并抽样调查了500名网络依赖大学生的意见,其中包括电视/ dvd播放郊区青年人口。调查结果显示,有意或无意观看盗版电影的人占88%,其中93%的人观看的是低质量的电影。抽样调查的100%的大学生完全依赖在线下载,除非被迫在线流媒体。相互猜疑是尼日利亚电影行业的特点,该研究确定了六类不幸被列入尼日利亚盗版合作者名单的人,其中未注册的营销人员占93.8%,注册工会以外的肆无忌惮的从业者(75%),而53.3%的人与监管机构有关。尼日利亚电影盗版表现出一种特殊的特点,即非法复制、印刷和公开销售这些假冒产品而不受惩罚。可悲的是,让富有创造力的艺术家们懊恼的是。该研究的结论是,尼日利亚海盗和他们的赞助人享有不受阻碍的公开活动自由,执法人员还没有魔棒来结束它。被Netflix上市已经成为一个重大突破,而影院观影中心的回归目前是诺莱坞电影人直接谈判和控制的另一个途径。
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In Search of Statistics for the Monster: Piracy and the Precarity of the Nigerian Film Industry
The study investigates piracy from three categories of stakeholders outside the 3% elite population that patronizes the mega stores. The youth represent a high population of movie viewers found in the suburban areas of selected cities. It also took account of those in the universities that constitute major patronage but do not actually pay the right price for the films. There was the need to study the unique and peculiarity of Nigerian piracy, the level of awareness of consumers of pirated products, the level of involvement of the youths, and if operates uniquely, and exhibits different dynamics from foreign examples, as well as the effectiveness of the antipiracy bodies. This study selected 16 low-budget filmmakers and sampled the opinions of 500 online-dependent university students including TV/DVD-playback suburban youth population. Findings reveal that those who advertently or inadvertently patronize pirated movies account for 88%, with 93% proliferation of low-quality pic¬tures. 100% of university students sampled depend wholly on online downloads, except if compelled to stream online. Mu¬tual suspicion characterizes Nigeria’s film industry, and the study identified six categories that unfortunately make the list of collaborators of Nigerian pirates with unregistered marketers accounting for 93.8%, unscrupulous practitioners outside the registered unions (75%), while 53.3% implicated the regulators. Nigerian film piracy exhibits a special peculiarity of illegally copying, printing, and publicly selling these counterfeits with impunity. And sadly, to the chagrin of creative artists. The study concludes that Nigerian pirates and their patrons enjoy the unhindered liberty of operating publicly, and the law enforcement agents do not yet have the magic wand to end it. Getting listed by Netflix has become a major breakthrough, while the re¬turn of cinema viewing centres presently serves as another avenue of direct negotiation and control for Nollywood filmmakers.
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来源期刊
International Journal of Film and Media Arts
International Journal of Film and Media Arts Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
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1
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