Intercultural Communication Studies XVIII: 1 2009 Onuzulike Nollywood: Nigerian Videofilms as a Cultural and Technological Hybridity Uchenna Onuzulike, Ohio University Nigerian videofilms reflect the economic, political, and cultural transformation in Nigeria. This article discusses Nigerian videofilms as a cultural and technological hybridity. The Nigerian movie industry, known as Nollywood, resorts to shooting movies in video form due to the high cost of celluloid. The term videofilm implies something between television and cinema. This article extends the definition. I define the term videofilm as any movie or motion picture produced mainly in the video format while adhering to particular cinematic values and conventions. Videofilm has transformed the way in which Africans tell their stories. Regarding cultural hybridity, this work evaluates Nigerian videofilms’ influence on the African diaspora and on African religion. Regarding technological hybridity, this paper investigates the videofilm revolution in Nigeria. This work employs postcolonial theory for a vivid analysis of videofilm culture. Videofilm can be used for cultural explorations and representations, or by individuals or groups who cannot afford celluloid. Nigerian videofilms are deeply rooted in Nigerian cultural traditions and social texts that focus on Nigerian community life. Nigerian videofilm stories are told using African idioms, proverbs, costumes, artifacts, and the imagery of Africa and cultural displays. The common Nigerian videofilm genres include: horror, comedy, urban legend, myth, love and romance, juju, melodrama, and historical epic. In this study, the term videofilm is defined as any movie or motion picture produced mainly in the video format while adhering to particular cinematic values and conventions. The Nigerian movie industry shot films on celluloid before it shifted to video format. There are numerous reasons why Nigerian movie productions shifted from celluloid to videofilm, which include political, cultural, and economic factors. In Nollywood, the prohibitive cost of producing celluloid led producers to resort to videofilms (Adeiza, 1995; Adesanya, 2000; Ampaw, 2002; Ansah, 2002; Faris, 2002; Haynes, 2000; Onuzulike, 2007a; Onuzulike, 2007b; Owen-Ibie, 2006 Servant, 2001; Tucker, 2005). Another reason for the shift was concern for safety. Videofilm producers started with less costly VHS cameras while utilizing a number of VCRs for editing. Nowadays, the movies are predominantly distributed on VCD and DVD. Also, they have been shooting with digital video cameras while utilizing contemporary computer editing programs for better quality. Nollywood movies are sold in the streets of major cities in Nigeria such as Lagos, Onitsha, and Aba. Nollywood movies are also available in other African countries, such as Kenya and Ghana. With the advance of videofilm technology, many have raised the question of whether videofilm may take over celluloid. Barsam (2004) writes that “in 1889, George Eastman began mass producing celluloid roll film, also known as motion picture film or raw film stock, which consists of long strips of perforated cellulose acetate on which a rapid succession of still photographs known as frames can be recorded” (p. 19). As the term videofilm implies, 176