The importance of genres in film operates on multiple levels, from aiding story development to setting audience expectations. But what shapes a genre beyond being a marketing tool? How do these genres influence people within society? And do the most common genres reflect what audiences truly enjoy, or is it simply a matter of conditioning? More importantly, how can that be fixed when there seems to be an oversaturation of certain genres and an underexploration of others?
In April, the Nollywood Film Club examined the good, the bad, and the ugly of genres in Nollywood. Hosted by one of the NFC regulars, Vanessa moderated questions that revolved around what makes a Nollywood genre. From the epics to the romances, horror, comedies, thrillers, crime, and the ever-present dramas, how has Nollywood invented and reinvented these genres? What are the genres that are peculiar to us? In many ways, this became a discussion of the larger tropes that have become a staple.
Uchenna established early on that “Nollywood stories have evolved from tabloids, Onitsha platforms to radio shows.” This background reflects the way Nollywood’s storytelling has evolved. It also set the stage for the exploration of country-specific genres like the hardship films (aka grass to grace), juju-fi, the runs girl genre, and a genre we might call wazobia—an attempt at inclusion that often ends up excluding true diversity.
The conversation turned to the genres Nollywood does best. Comedy, for example, was acknowledged as the genre that effectively took Nollywood global. And then came the big question: Can the old and the new be merged to create a true, lasting identity?
The discussion also touched on the genres that tend not to work. Action was listed as one that consistently falls short. Someone mentioned musicals, which sparked a debate. Is there interest or demand for musicals today? Or does any genre truly have a chance if it’s not attempted and done well?
This age-old issue surfaced again: the pressure on filmmakers to make films that help them get their money back quickly. It leads to repeated genres and inevitably affects the kinds of films we get. So, how much responsibility falls on producers and filmmakers for shaping or conditioning the audience’s taste?
And, of course, the conversation circled back to our writing problem: an overreliance on borrowed tropes that result in foreign characterisation, unrelatable stories, and ultimately, bad films.
The entire Twitter Space reminded me of this tweet by Pensage:
My (not-so) key lesson: So, once again, I ask, in another form, what could be that genre that would be our most exportable one, that we would be known for, and no one else would do better than us globally?
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