M. Krings, O. Okome (2013) Global Nollywood: The Transnational Dimensions of an African Video Film Industry
This book was written by two well-known authors in the Nollywood world, Matthias Krings and Onookome Okome. The book explores the transnationalisation of the African Video Film Industry as well as the engagement it has with other cultures. It contains some basic information about how Nollywood came about as well as its cultural impact. Krings and Okome express the argument of the accounting for Nollywood’s appeal in Africa and the assessment of cultural weaknesses between what is shown on-screen and the actual social aspects of Nollywood’s audience.
“Nigerian film is popular in the sense that it traverses the immediate culture in which it is set as people beyond the borders of the immediate community can identify with it”. This states that the impact that Nollywood has on its community is extensive and the audience can relate to a majority of the key aspects of the films. It is said that the culture of Nollywood films is loved not only for its recognised likeness to local cultural structure but equally for its differences, so that copying standards of behaviour, fashion, and speech style from Nigerian films becomes a funny medium for viewers to differ themselves from the normalities of their culture.
Although Nigerian films have presumed a transnational reality, their approachability in cultural and grammatical terms can be fairly limited, therefore the films undertake one form of mediation or the other.
B.H. Chua, K. Iwabuchi (2008) East Asian Pop Culture: Analysing the Korean Wave
This book that written by both Beng Huat Chua and Koichi Iwabuchi was first published in 2008 and includes the research of the Korean Wave as well as the popular culture of East Asia. It is expressed immensely that the flows and networking of pop culture in East Asia controlled by the unrealistic ethnic Chinese consumer market which is Japan and Korean relative. In terms of text, the media that is brought in is dubbed significantly and subtitled in Chinese for broadcast in countries such as Hong Kong and Taiwan. This huge wave of dubbing and subtitling makes for a cost-effective investment. Due to this wave, the flow of television drama has been poached as unequal within this region; no Hong Kong television drama has been broadcasted to Japanese television networks.
It is also mentioned that the distinctive domestic economic space and the longing history of the media industry have decisive effects on the exporting and importing of television dramas in specific locations. Local consumers can also support the Japanese television drama, despite the high cost of production. Also, the memories of settlements and wars strongly influence the flows and networking of popular culture in East Asia. In China, Taiwanese youth have been notably biased to Japanese pop culture and are known as ‘keen consumers of Japanese media and Japanese-style goods’, often to the irritation of their parents and ancestors who have bad memories of the settlement history between Japan and Taiwan.