Abstract

Abstract:

This article specifically examines how individualism has shaped both the practice and cultural identity of film music in mainstream Nollywood since 1997. The argument is that the perceived localized approach to film music has sustained an existing conservative school of thought as well as the notion of a "commodified identity." As a commodity, Nollywood film music reflects a certain intensity of the "African present," which this article explores through the words and works of some established practitioners alongside a range of related theoretical frameworks. Findings reveal that identity in Nollywood film music is a subtly packaged commodity—a commodified identity, which the dynamism of individualism has strongly inspired.

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Additional Information

ISSN
1947-4237
Print ISSN
1536-3155
Pages
pp. 85-105
Launched on MUSE
2020-06-10
Open Access
No
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