For as long as I can remember, the Global Film Industry has always been dominated by the likes of ‘Hollywood’. This western film industry dominance has undeniably cast a shadow over other cultural entertainment exports such as their lesser rivals Nollywood and Bollywood. Hollywood’s success comes down to their major international reach, which can be better known as ‘Global Hollywood’. Global Hollywood refers to not only the ‘production, distribution, and consumption of Hollywood films around the world, it also encompasses the money, people, companies and places from all over the world which are now involved in film production with Hollywood partners’ (Goldsmith et al.2012).
With the increase of globalisation as well as cultural influences circulating around the globe, global film has in turn become more transnational. With this increase of transnational film, the global film industry has as a result changed, now allowing less dominate film industries such as Bollywood and Nollywood to ascend, capturing more of the global film industry market. Within Karan and Schaefer’s (2010) article, this process and concept is discussed, describing it as “Blurring the boundaries between the modern and the traditional, the high and low culture, and the national and the global culture.”
From the emergence of East Asian and Indian film industries, comes the growth of the Nigerian film industry. The Nigerian film industry, or better known as Nollywood, emerged in the early 1990s from the Yoruba travelling theatre tradition. This film industry, beginning from very little, has grown to become the third largest film industry in the world, behind Bollywood and Hollywood. Nollywood’s films are made direct to video and are never screened in movie theatres. With the growth of globalisation, Nollywood are increasingly making its mark outside Nigerian home turf. This mark is made through their efforts of taking on western values and techniques to expand their target audiences. Through doing this, Nollywood expands from their own nation as its audience, to appeal to a more greater and global market. Karan and Schaefer (2010) write that “Asian production centres will increasingly exploit cinematic contra-flows that draw upon structures of hybridity to meet increasing demand for glocalized content”, this is clearly seen in Nollywood’s development.
Another one of the top three powers in the global film industry is ‘Bollywood’. Bollywood is the Hindi language film industry, based in Mumbai India. This film industry is the largest in the world, even larger than the popular Hollywood. Within the lecture, Khorana stated “Bollywood is already … bringing its brand of glitzy entertainment not just to the Indian diaspora in the US or UK but to the screens of Syrians and Senegalese, who may not understand the Hindi dialogue but catch the spirit of the films, and look at India with stars in their eyes as a result”. From this statement, we can come to the understanding that there is a growth in culture shift from the Global South, with Bollywood now influencing Hollywood.
All in all, these three dominant film industries operate in a world where globalisation has shaped boarder crossing and transnational encounters, becoming more widely common and available. This results in the creation of equality and understanding of others cultures, further resulting in the encouragement of the hybridity of cultures.
Goldsmith, B Ward, S O’Regan, T 2012, ‘Global and Local Hollywood’, InMedia, viewed 28th August 2014,
< http://inmedia.revues.org/114 >
Karan, K and Schaefer, DJ 2010, ‘Problematizing Chindia: Hybridity and Bollywoodization of popular Indian cinema in global film flows’, Global Media and Communication, Vol 6: 3, pp. 309-316, viewed 28th August 2014,
< http://goo.gl/6bXJ8j >