Actors and Producers are increasingly creating their own YouTube channels to showcase their content. This democratisation of content distribution has empowered them to bypass traditional gatekeepers, reaching a broader, global audience without relying on regulated distribution channels. On the surface, this might seem like a win for the industry. Still, it only allows for a proliferation of low-budget productions with a ‘probable’’ high return on investment, prioritising quantity over quality.
Instead of focusing on a few high-quality films that could elevate the industry’s profile internationally, the platform has been flooded with numerous channels promoting films that lack the production values needed to compete on the global stage. As a result, viewers struggle to distinguish between polished, high-quality films and subpar productions, diluting Nollywood’s brand and international appeal.
Many of the films uploaded to YouTube are created on shoestring budgets, resulting, in most cases, in poor scriptwriting, substandard cinematography, and lacklustre editing. Although this “low-cost” approach allows actors and producers to churn out content quickly and generate ad revenue through views, it erodes Nollywood’s ability to compete with international productions, which adhere to much higher standards. This approach could have long-term consequences for Nollywood's growth potential.
While being a global platform and perhaps the largest repository of Nollywood films, YouTube emphasises quantity over quality. This has created a vicious cycle where more low-quality content is uploaded, further diluting Nollywood’s overall output and reducing the incentive for creators to push the boundaries of excellence. Surprisingly, this deluge of substandard productions has not diminished viewership, but it has cemented YouTube as the go-to platform for free Nollywood movies. Unfortunately, this easy access comes at the cost of Nollywood’s prestige.
The abundance of low-quality, free content on YouTube is also harming Nollywood’s relationship with premium streaming platforms like Netflix and Prime Video, which have long been seen as the keys to expanding Nollywood’s global footprint. These platforms prioritise high-quality productions that align with their standards. However, when viewers can easily access Nollywood movies for free on YouTube, they have less motivation to subscribe to these premium services.
This shift in viewership dynamics has real-world implications. In January 2024, Prime Video announced it would halt original productions in Africa and the Middle East following a downsizing of creative teams in these regions. Meanwhile, Netflix has drastically reduced its output of Nollywood content, limiting it to around one monthly release. Instead, the platform has shifted focus to other African countries, notably South Africa, for its original productions.
While YouTube provides Nollywood actors and producers with a valuable platform to showcase their work and potentially make a profit, the unchecked proliferation of low-quality films poses a significant threat to the industry’s long-term growth. The decline in production standards and its impact on partnerships with global streaming platforms like Netflix and Prime Video jeopardises Nollywood’s ability to compete internationally.
Stakeholders must prioritise quality over quantity. Establishing partnerships with reputable streaming services that demand high standards will help elevate the industry’s reputation and ensure its global competitiveness. The industry can thrive in an increasingly competitive entertainment landscape by focusing on quality productions and forging solid relationships with platforms that can bring Nollywood content to a broader audience, as the Black Book, House of Ga’a, and Jagun Jagun did.
This way, Nollywood can only realise its full potential and perhaps still remain a beacon for African cinema.
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