CHALLENGES AND OPPORTUNITIES OF PLATFORM MARKETING OF

NOLLYWOOD FILMS- A STUDY OF NETFLIX

BY

AGADA OCHEFIJE CHRISTIANA

A PROJECT PRESENTED TO THE SCHOOL OF POSTGRADUATE STUDIES,

FACULTY OF SOCIAL SCIENCES, UNIVERSITY OF LAGOS, IN PARTIAL

FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF MASTER’S

DEGREE IN PUBLIC AND INTERNATIONAL AFFAIRS (MPIA)

ABSTRACT

This research work is centred on the challenges and opportunities of platform marketing of
Nollywood- a study of Netflix among viewers and those who work in the Nollywood industry.
The statement of the problem is that more platform marketing is increasingly becoming the
go-to source for movie marketing at the intersection of socialisation and economics, and it is
often at odds with what can be described as mainstream. The purpose was to find how Netflix
presents an opportunity for Nollywood but also presents a challenge for local marketers. The
structural imperialism theory and uses and gratification theory (UGT) were used for the
study, because they are relevant to the study. The survey method was adopted using
questionnaires as the instrument for data collection from respondents. The data collected
were analysed using frequency and percentage. Findings show that many people want the
government to invest in local marketers of platform marketing while also encouraging
foreign investors. One of the major recommendations is that the Nigerian government should
see Netflix not only as an economic investment but also as an ideological propaganda that is
being utilised to promote the relational power of the Centre state [Netflix is established] as
well as to promote [United States] foreign policy.

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 TABLE OF CONTENTS

CHAPTER ONE: INTRODUCTION

1.1 Background to the Study 1
1.2 Netflix and marketing of Nollywood films 2
1.3 Nollywood and the need for effective marketing platform 3
1.4 Research Questions 4
1.5 Research Objectives 5
1.6 The aims of the research 5
1.7 Statement of the problems 5
1.8 Scope of the Study 7
1.9 Operational definition of the terms 7

CHAPTER TWO: LITERATURE REVIEW

2.0 Introduction 9
2.1 Empirical studies 10
2.2 Theoretical Framework 15
2.3 Summary 21

CHAPTER THREE: METHODOLOGY

3.0 Introduction 23
3.1 Research philosophy /paradigm 24
3.2 Rationale for adopting quantitative research and descriptive survey design 25
3.3 Quantitative case study and other research types and research designs 26
3.4 Data Collection Method 27

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3.5 Summary 30

CHAPTER FOUR: DATA ANALYSIS AND DATA PRESENTATION

4.1 Discussions of Findings 53

CHAPTER FIVE: SUMMARY, CONCLUSION AND RECOMMENDATION

5.1 Summary 55
5.2 Major findings 56
5.3 Conclusions 56
5.4 Recommendation 57

Bibliography 59
Appendix 66

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 LIST OF TABLES

Table 1: Gender of respondents 32

Table 2: Age of respondents 33

Table 3: Educational level of respondents 34

Table 4: Profession of respondents 35

Table 5: Location of the respondents: 36

Table 6: Nollywood movies platform 37

Table 7: Quality and content of Nigerian movies 38

Table 8: Marketing of Nigerian movies 39

Table 9: Netflix helps Nigerian movies get more viewership 40

Table 10: Demands for Nigerian movies in local and international markets 41

Table 11: Marketing and movie quality enhance professional growth 42

Table12: Marketing and movie quality attract and retain viewers 43

Table 13: Netflix is good for Nigeria’s socio-economic development 44

Table 14: Netflix promotion of obscenities 45

Table 15: Moral Values of Nigerians 46

Table 16: Introduction of nudity and obscenities 47

Table 17: Nigeria’s reputation 48

Table 18: Government regulation 49

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Table 19: Knowledge and skills for movie quality and marketing 50

Table 20: Competition and collaboration 51

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 CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

The Nigerian Film Industry Nollywood constitutes a multimillion-dollar industry (Haynes,

2016). Nollywood is globally recognised as the second largest film producer in the world

after Hollywood, which is the centre of the entertainment industry in the United States

(Abiola, 2016). Nollywood Film Industry has become big business and has reported to be a

significant source of revenue to individuals, organisations, and the government of Nigeria

(Agina, 2021). According to the Nigeria Bureau of Statistics (NBS), the financial value of the

Nollywood industry is valued at $6.4 billion as of 2021. Nollywood contributes 2.3 percent to

Nigeria's Gross Domestic Product (GDP) with over 2500 movies produced annually

(Husseini & Sunday, 2019). The recent rise in the commercial worth and quality of the

Nollywood film industry has not only attracted management research interest but also public

policy attention (Miller, J. (2022). Nollywood remains the largest component of Nigeria’s

entertainment industry and will gross $15 billion in 2025 according to PwC Global

Entertainment and Media Outlook for 2020-2025. In survey research conducted by

Akudinobi (2015). Nollywood has been estimated to generate between $500 million and $1

billion on a yearly basis in revenue. It also reportedly employs 300,000 people and more than

one million people indirectly. Of note, marketing of Nollywood films by the film producers

has enabled the growth of Nollywood. The Nigerian movie industry’s partnership with

Netflix, a popular American subscription video on-demand over-the-top streaming television

service has further advanced Nollywood (Alabi, 2019). The author asserted that the adoption

of Netflix as a digital marketing platform for Nigeria’s Nollywood has helped improve the

financial status of the entertainment industry. Consequently, film producers and cast have

achieved higher compensation and economic status due to the exposure of local films and

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storylines by Netflix to the international audience. Ibagere, E. (2015). This was echoed by

Akudinobi (2015) who stated that apart from the largely ineffective local marketing strategies

adopted by Nigerian film producers, Netflix have helped project the Nollywood films and

storylines, which were not readily visible to international audiences.

1.2 Netflix and marketing of Nollywood films

Netflix is an American subscription video on-demand over-the-top streaming television

service owned and operated by Netflix, Inc., a company based in Los Gatos, California

(Jenner, 2018). It offers films and television series from various genres, and it is available in

multiple languages. Netflix was launched in Nigeria in 2015 and bought the rights to

Nollywood films like Kunle Afolayan‘s October 1st and Biyi Bandele‘s Fifty amongst others

that had already been distributed and exhibited in the cinemas. Per the revelations of

Jedlowski (2022), cited by Agina (2021), in 2018, during the Toronto International Film

Festival (TIFF), Netflix announced the acquisition of worldwide exclusive distribution and

exhibition rights for Lionheart, popular Nollywood actress, Genevieve Nnaji‘s directorial

debut for the sum of $3.8 million, approximately ₦1.9 billion as at then Thus, the film was

the first Netflix original film from Nigeria (Jedlowski, 2018). On February 25th, 2020,

Netflix announced through its Twitter account, ―Netflix Naija, informing Nigerians of its

partnership with Nigerian filmmakers to release original content. The establishment of

―Netflix Naija is thus part of Netflix‘s scheme to create content for and share content with

the world. According to Agina (2021), the growth of Nollywood has been phenomenal since

the intervention of Netflix. Kunle Afolayan had his movies streamed on Netflix before his

partnership. His partnership included the production of three movies which fall into the

historical drama, folklore fantasy, and character drama categories, in which he had produced

two: ‘Swallow’ – an adaptation of the third novel of Nigerian American writer Seffi Atta –

and ‘A Naija Christmas'. Since then, Netflix has received a positive reception from the

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Nigerian audience due to the abundance of foreign content on the platform and particularly,

the availability of Nollywood films which has contributed significantly to promoting

dynamic representations of Nigeria globally. Therefore, Netflix has continually catered to the

content needs of Nigerians by distributing local content (particularly Box Office releases) and

Netflix original content, some of which are still being produced.

Nevertheless, despite the apparent growth and advancement of Nigeria’s Nollywood, studies

reported that Nollywood is still considered an industry in perpetual infancy (Jedlowski, 2022;

Akpabio, 2017; Ibagere, 2019). Compared to its international counterparts, including

Hollywood and India’s Bollywood, Nollywood’s poor marketing strategies have been the

greatest impediments to its capacity for global rise and international recognition Madichie, N.

O. (2020). Akudinobi, J. (2015) stated that compared to Hollywood and Bollywood, the

Nigerian Film Industry Nollywood has failed to leverage on the opportunities provided by

international marketing platforms, including Netflix to increase its revenue and achieve

competitive advantage on a global scale. There is an abundant amount of research seeking

knowledge into the factors and the challenges that Nollywood faces notably, why is an

industry of Nollywood’s standing still on the margins of international recognition?

1.3 Nollywood and the need for effective marketing platform

For Nollywood to achieve a higher box office revenue, and to compete with its international

counterparts, Jedlowski (2022) posited it needs a viable marketing platform that potentially

exposes it to international audiences, particularly in the United States and Europe (Oxford

Analytica, 2021). Similarly, it has been asserted that due to the advancement in technology,

consumer education and awareness, globalisation and more recently the availability of

satellite broadcasting – a viable African cinema industry of Nollywood’s standing requires

are-evaluation of marketing-mix strategies (marketing/international streaming platform,

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product/production, price, place/distribution and promotion) (Husseini and Sunday, 2019).

Despite what has been described and reported as the emergence of a new force in low-budget

movies raking in multi million US dollars, Nollywood’s informal, intuitive and opportunistic

marketing has contributed to the poor product and production quality Abiola, A. O. (2016).

Furthermore, the fragmented and largely disorganised distribution and marketing

communications (i.e., marketing strategies), of Nollywood products have added to what has

collectively become the bane of the industry’s development and international recognition

(Smyth, 1989; Stollery, 2001; Madichie and Katwalo, 2005; Madichie and Ibeh, 2006).

Nigeria’s Nollywood must look at the challenges and the opportunities that are associated

with adopting such measures. These key areas will inform the basis of this research

1.4 Research Questions

Research questions are essential for understanding the research problem under study (Willig

& Rogers, 2017). Korstjens & Moser (2018) noted that a research question typically provides

an explicit statement of what the researcher wishes to Given the interest of this research to

explore the marketing challenges facing the Nigerian movie industry, the research questions

have been formulated to reflect a connection between the research problem, research purpose,

and an explicit statement of what is needed to be found. To determine the reasons for the poor

international standing of Nollywood actors and actresses, concisely written research

questions will serve as a guide to provide a centre for the research method (data collection)

Research question 1: What are the marketing challenges that the Nigerian movie industry

faces?

Research question 2: What is the influence of Netflix on the socio-economic dynamics of

Nigeria movie industry and the Nigerian economy in general?

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Research question 3: What roles does Netflix play in promoting nudities and obscenities in

the Nigeria movie industry?

Research question 4: What is the knowledge of people in Nollywood about the role of

marketing and movie quality in promoting individual financial reward and international

recognition?

1.5 Research objectives

The overarching aim of this study is to examine the influence of Netflix on the

socio-economic dynamics of Nigeria movie industry and the Nigerian economy in general.

The objectives are:

1. To explore marketing challenges facing the Nigerian movie industry

2. To explore the role of Netflix in promoting economic and financial dynamics of

the movie industry and the Nigerian economy.

3. To explore how Netflix has contributed to nudities in the local movie industry.

4. To explore the knowledge of people in Nollywood about the role of marketing

and movie quality in promoting the financial reward and international recognition

of Nollywood cast.

1.6 The aims of the research

The overarching aim of this study is to examine the influence of Netflix on the

socio-economic dynamics of Nigeria movie industry and the Nigerian economy in general.

1.7 Statement of the problems

There are disparities in the overall makeup and economic and personal successes of

America’s Hollywood and Nigeria's Nollywood (Oxford Analytica. (2021). More

importantly, the influx of Netflix as an international marketing platform has introduced

undesirable practices into the Nigeria movie industry. To start with, the city of Hollywood is

the biggest and most globally influential film industry, creating hundreds of movies per year

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and making billions in profit (Joo, 2022). The salaries of Hollywood Actors in the US range

from $31,691 to $861,330, with a median salary of $154,747 (Joo, 2022). The author

revealed that the middle 57% of Hollywood Actors makes between $154,750 and $390,103,

with the top 86% making $861,330. In contrast, despite the local success of Nollywood

movies, Nollywood actors' incomes are low (Akpabio, 2017). The most popular actors and

actresses receive between $1,000 and $3,000 per film. In Nollywood, only a limited number

of actors and actresses can claim higher earnings (Abiola, 2016). Similarly, while Hollywood

has large budget movies, Nigeria’s has mid-to-low budget films (Agina, 2021). Hollywood

actors are also more widely known actors, directors and producers whereas on the other hand,

Nollywood sticks to their budget and hires smaller, lesser-known actors. The stories in both

industries vary but Nigerian movies tend to stick to a basic storyline of politics, romance, or

historical events where Hollywood produces movies that range from science-fiction or horror

to romantic comedies or war films (Haynes, 2016).

While there is an increasing body of evidence that Nigeria’s Nollywood lags America’s

Hollywood in several ways, including personal wealth, international exposure and

international awards and recognition of actors and actresses, there are scanty studies

demonstrating the potential of Netflix as a marketing platform to put Nollywood in a more

economically advantageous position so that local cast, including film producers and

executives can achieve equal measure of commercial and personal success and recognition

like Hollywood of the United States The purpose of this research is to highlight the marketing

challenges facing the Nigerian movie industry – Nollywood. Netflix will be the focus of

attention as the research makes a case for the recognition of this multimillion-dollar industry.

The overarching question is “Why Nigerian movies – as epitomised by the case of

Nollywood – continue to lack box office appeal and poorer personal and global recognition of

local actors and actresses” the research will be designed to examine not only the challenges

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of marketing platform (Netflix), but as well as the the poor marketing-mix strategies adopted

– notably weak marketing communications and poor product (movie) quality.

1.8 Scope of the Study

The research mainly focuses on the socio-economic influence of Netflix on the Nigeria movie

industry and the Nigerian economy in general. The area of the study will be limited to how

Netflix has not only influenced the recognition of Nigerian films, but also the impact that

Netflix has had on the Nollywood cinematic culture. The research will explore the role of

Netflix in promoting economic and financial dynamics of the movie industry and the

Nigerian economy. It will explore how Netflix has contributed to nudities in the local movie

industry, and the knowledge of people in Nollywood about the role of marketing and movie

quality in promoting the financial reward and international recognition of Nollywood cast.

1.9 Operational definition of the terms

For the purpose of this study the following terms are operationally defined:

Netflix: Netflix is an American subscription video on-demand over-the-top streaming service

owned and operated by Netflix, Inc. The service primarily distributes films and television

series produced by the media company of the same name from various genres, and it is

available internationally in multiple languages.

Nollywood: A portmanteau of Nigeria and Hollywood, is a sobriquet that originally referred

to the Nigerian film industry. The origin of the term dates to the early 2000s, traced to an

article in The New York Times. Due to the history of evolving meanings and contexts, there is

no clear or agreed-upon definition for the term, which has made it a subject of several

controversies.

Marketing: This is the process of exploring, creating, and delivering value to meet the needs

of a target market in terms of goods and services; potentially including selection of a target

audience; selection of certain attributes or themes to emphasise in advertising; operation of

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advertising campaigns; attendance at trade shows and public events; design of products and

packaging attractive to buyers; defining the terms of sale, such as price, discounts, warranty,

and return policy; product placement in media or with people believed to influence the

buying habits of others; agreements with retailers, wholesale distributors, or resellers; and

attempts to create awareness of, loyalty to, and positive feelings about a brand.

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 CHAPTER TWO

LITERATURE REVIEW

2.0 Introduction

According to studies, Nigeria’s Nollywood film industry has grown to be a substantial source

of income for Nigerian citizens, businesses and the government, generating 2.3 percent of

Nigeria's GDP (Husseini & Sunday, 2019; (Agina, 2021). While the influence of Netflix in

promoting the economic and financial dynamics of the movie industry and the Nigerian

economy is well known and documented, the influx of the international marketing platform

has also introduced undesirable practices into the Nigeria movie industry. Indecencies and

nudities are foremost elements that Netflix has inculcated into Nollywood. The long existing

literary interest in the role of Netflix in promoting economic, social, and financial dynamics

of the movie industry and the Nigerian economy further necessitated the conduct of this

current study.

Therefore, in this chapter, detailed insight is provided concerning Nollywood and its role in

promoting Nigerian socioeconomic dynamics. The purpose of the literature review is to

review what is known about the challenges that international marketing platforms such as

Netflix pose on the socioeconomic and cultural dynamics of Nigeria. Consequential

theoretical frameworks are analysed. This chapter is a justification of the research by

establishing review of existing literature and highlighting gaps in the knowledge and

providing a critical analysis, critique and summary of literature. The literature review

included those key terms. Online libraries, including the Internet, were used to retrieve

current and relevant research materials. Databases were searched, including IEEExplore,

Business Source Premier, and ACM Central. Google Scholar also served as the primary

database for this literature review's database search process. These databases also contained

material that was relevant to the studies found through the university library.

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Conducted in a quantitative research environment using descriptive survey design, this

literature review includes structural imperialism to explain the contemporary culture and

practices in Nollywood and the negative impacts of international commercial platforms on

the dynamics and culture of local practices. Similarly important includes concepts as well as

related empirical evidence on the research in focus. It is highlighted and discussed under the

following frameworks:

● Empirical studies

Nollywood/ Cinemas

Netflix

● Theoretical Framework of the Study

Structural imperialism theory

Uses and Gratifications Theory

● Summary of the Literature Review

2.1 Empirical studies

According to Penn State University Libraries, empirical research is based on observed and

measured phenomena and derives knowledge from actual experience rather than from theory

or belief.

Nollywood/Cinemas

Olubomehin (2012) stated that before the use of television and home video in Nigeria,

cinema was a major means of entertainment and recreation in the country. For instance, there

was already a rise in cinema-going in Lagos state during the colonial era. Cinema-going was

a means of information, education, and cultural development of the masses before Nigerian

independence in 1960. The cinema is an avenue for people to immerse themselves in their

imagination for a temporary period, as well as the attraction it offers. The Cinema business

flourished in Lagos state from 1903 to the 90s. At its climax, there were over forty cinema

10
houses in Lagos state, and these cinema houses provided people the opportunity to watch

varieties of their favourite local and foreign films. Nwachukwu (2018) defines a multiplex

cinema as a film theatre with more than three screens under the same roof. It is a huge film

theatre facility consisting of several cinema halls where different films are screened for

different audiences simultaneously and continually. Multiplex cinemas are specially designed

to meet the expectations of stakeholders; hence they are organised, well-constructed,

equipped, and managed. They normally have about 16 film screens based on the availability

of funds and business objectives, whereas megaplexes have over 16 film screens. Multiplex

cinemas use modern film technologies and provide refreshments, relaxation, and convenience

for their audiences. Management of multiplex cinemas employs the Multiplex Management

System Software to enable the planning, selection, and exhibition of films in the various

screening halls to be 22 seamless, effective, and hitch-free. The management of multiplex

cinemas is driven by consumerism and thus, multiplexes are set within shopping malls or are

built-in as part of the original structure for shopping malls. The main goal is to create various

appetites for the consumer, for instance, a family that visits a shopping mall on the weekend

may choose to have refreshments at the restaurant first then proceed to watch a hit film at the

film screening halls. The idea is to have a variety of things a customer could desire under the

same roof. Thus, shopping malls and multiplexes have a sort of symbiotic relationship.

Research has shown that the Nigerian audience finds multiplex offerings overwhelming and

irresistible, hence its popularity in the country. Nollywood films like The Figurine by Kunle

Afolayan and Last Flight to Abuja by Obi Emelonye amongst others gave rise to cinemas

being the primary film distribution and exhibition platform in the country.

In Nigeria today, there are a total of 77 cinemas and 218 cinema screens with most

concentrated in Lagos state, the Federal Capital Territory (FCT) Abuja, and Ibadan state

(Akudinobi, 2015). The Silverbird Group launched its first chain of multiplex cinemas in

11
2004 with the Silverbird Galleria in Victoria Island, Lagos state. Soon after, the establishment

opened other branches across other cities in the country. The advent of the first multiplex,

Silverbird cinemas, gave rise to other multiplexes in the country which include Filmhouse

cinemas, Genesis Deluxe Cinemas, and Viva cinemas amongst others. The conception of

these cinemas gave the cinema business a boost and expanded the market to accommodate

classes, hence enabling more cinema-going. Significantly, the advent of these new multiplex

cinemas reignited cinema-going, making provision for outdoor recreation, refreshments, and

relaxation around shopping malls and other fun areas, thereby reducing the hold of home

video culture (Awa & Thomas-Odia, 2018). 23 The rise of cinemas also created a boost in the

cinema value chain which gave rise to new jobs and brought in huge profits for the

stakeholders. In 2006, the evolution of the Nigerian Film Industry led to it being ranked as

the second most valuable film industry in the world based on its worth and the overall

revenue generated. This achievement birthed Project Nollywood which was implemented by

the Federal government to provide donations to filmmakers to produce, distribute and exhibit

their films across the country.

Following further investments by the Federal government in the sector, Elvis Chuks, multiple

award-winning filmmaker, stated that the few distributors and exhibitors that were

advantaged to acquire funds from the Federal government have used them to build cinemas

where they feature only films that their organisations produce, therefore encouraging cinema

houses to constitute a monopoly, which is detrimental to the growth of cinemas in the

country. He also stated that Nigerian cinemas will grow bigger if more cinema houses cater to

the increasing demand of the audience and check sharp practices in big cinema houses which

include under-declaring income to short-pay filmmakers. Judith Audu, another

award-winning filmmaker stated that having up to 1,000 cinema screens in the country will

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facilitate more cinema-going and help filmmakers make more profit (Awa & Thomas-Odia,

2018).

Netflix

Fernandez (2021) reported that as of January 2021, Netflix recorded 203.7 million paying

subscribers in the world, thus making it the leading streaming service and company in the

video-on-demand industry. Netflix is a member of the Motion Picture Association (MPA);

hence its production and distribution of content from countries all around the world. Netflix

became the leading media and entertainment business by market capitalization on July 10th,

2020, and was reported to generate an operating income of $1.2 billion that same year. It is

imperative to state that the growing success of Netflix can be attributed to the novel

COVID-19 pandemic in 2020, which led to the closing down of cinemas around the world to

curb the spread of the pandemic. During the span of the first few months of the close of

cinemas, Netflix acquired a whopping 16 million new subscribers, which nearly doubled the

result of the last months of 2019. Another significant factor for the success of Netflix is its

mobility which allows users to stream content on its website or watch content on its software

application on a range of supported platforms such as smartphones, personal computers,

tablets, digital media players, smart televisions, and video game consoles amongst others.

Additionally, Netflix’s affordability in comparison to subscription television contributes to its

usability around the world as its deal plans are presently distributed into three price tiers.

The lowest one offers basic definition streaming on a single device and 480p quality which is

₦2,900 per month, the average one offers standard definition streaming on two devices and

1080p quality which is ₦3,600 per month, and the highest one offers premium definition

streaming on up to four devices and 4K quality on supported devices and internet connections

which is ₦4,400 per month (Bond, 2021). 25 Owing to the Nigerian Film Industry, a

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―Netflix Original‖ is content that is produced, co-produced, or distributed and exhibited by

Netflix only on their services. Netflix also funds its original content and differently than other

content on its platform. The Netflix business model provides content creators the freedom to

diverge from traditional television arrangements that force 30 – 60-minute time slots weekly.

Netflix’s business model provides content creators a platform that allows different run times

per film. Also, this flexibility helps in nurturing a film until it finds its audience as opposed to

traditional television formats which cancel a film if it is not able to sustain stable ratings.

Significantly, Netflix’s subscription fee also reduces the need for advertisements as Netflix

does not have to appease advertisers to fund its original content. Content on Netflix is

categorised as original if it: a. Is licensed to first stream on Netflix. b. Is exclusively licensed.

c. Self-produced. Thus, Netflix's original content is content that is either licensed or produced

by Netflix.

Netflix’s acquisition of original content was inspired by two reasons. The first reason is to

have more control over its content. Netflix’s achievements inspired its former licensing

partners to create platforms on which to distribute their content resulting in Netflix losing

access to certain films or series. The second reason is that the practice began to formulate a

new brand identity for the platform. Additionally, the original content acquired by Netflix

represents a variety of genres and production sizes as well as awards and recognition and big

blockbusters amongst others. Netflix also incorporates cultures associated with identities and

thus, explores the issues within those cultures on screen. Netflix considers the cultural

representations of the over 190 countries it operates in concerning acquiring original content.

―Netflix 26 original films‖ were established as variety in type and diversity in content, thus

making the streaming service home for all its audiences (Fletcher, 2021). According to The

Conversation (2020), the American streaming giant, Netflix, announced its arrival in Nigeria

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via its Twitter account, ―Netflix Naija‖ while announcing plans to commission original

content by partnering with Nigerian filmmakers and investing in Nollywood.

Significantly, Netflix’s partnership with the Nigerian Film Industry not only gives Nollywood

increased visibility and viewership but also gives Nigerian filmmakers the chance to eradicate

piracy in the country. Licensing is simply gaining permission from a content owner for

various reasons. A licensing agreement is created under the terms of a legal contract between

Netflix and content owners with varying agreements. Some licences are long-lasting while

others are for a short time. Thus, Netflix informs its viewers on upcoming content and limited

content. Netflix licences out content from content owners and gains permission from rights

holders to share their content in form of a contract – licence, which allows using copyrighted

content subject to various limitations and fees. In cases of original content, Netflix signs

special contracts with production companies, and these contracts are made in line with the

copyright laws of the United States. A thorough understanding of licensing agreements and

how they work is pivotal to the Nigerian Film Industry’s growth. Culture Intelligence from

RED (2021) states that Netflix is working with a $15 billion original productions and

licensing budget for Africa that will enable Nigerian filmmakers to create high-quality and

competitive productions. Netflix’s number one priority is profit and according to Digital TV

Research, proceeds from streaming services are estimated to surpass $1 billion in subSaharan

Africa by 2024 as Netflix attracts 39% of subscribers which is also projected to increase.

2.2 Theoretical Framework

According to social psychologist Kurt Lewin (1963), a theory is a way of describing the

ordering and occurrence of several events, whereas Denis McQuail (1983) describes a theory

as a set of ideas of different status and origin that seek to describe or understand a

phenomenon. Practically, these definitions emphasise the intellectual rigour that is involved

or ought to be involved in the formulation of a theory (Folarin, 1998). In mass

15
communication, theories help in explaining the reason for phenomena. The existing theories

that relate to this research and add more depth to it are:

Structural imperialism

This theory takes as its point of departure two of the most glaring facts about this world: the

tremendous inequality, within and between nations, in almost all aspects of human living

conditions, including the power to decide over those living conditions; and the resistance of

this inequality to change. According to Galtung (2023), imperialism is conceived of as a

dominance relation between collectivities, particularly between nations. It is a sophisticated

type of dominance relation which cuts across nations, basing itself on a bridgehead which the

centre in the Center nation establishes in the centre of the Periphery nation, for the joint

benefit of both. Galtung (2023) contended that structural imperialism should not be confused

with other ways in which an individual collectivity can dominate another in the sense of

exercising power over it. Thus, a military occupation of B by A may seriously curtail B’s

freedom of action but is not for that reason an imperialist relationship unless it is set up in a

special way. Fuchs (2010) described imperialism as the practice, theory or attitude of

maintaining or extending power over foreign nations, particularly through expansionism,

employing not only hard power (economic and military power), but also soft power (cultural

and diplomatic power). Imperialism focuses on establishing or maintaining hegemony and a

more or less formal empire.

Per the assertions of Obia, Ibraheem and Onwunali (2022), structural imperialism is a

situation in which a country engages culture (language, tradition, and ritual, politics,

economics) to create and maintain unequal social and economic relationships among social

16
groups. Cultural imperialism often uses wealth, media power and violence to implement the

system of cultural hegemony that legitimises imperialism. Cultural imperialism may take

various forms, such as an attitude, a formal policy, or military action—insofar as each of

these reinforces the empire's cultural hegemony. Research on the topic occurs in scholarly

disciplines, and is especially prevalent in communication and media studies, education,

foreign policy, history, international relations, linguistics literature, post-colonialism, science,

sociology, social theory, environmentalism, and sports (Simon, 2022).

In Journal of African media studies by Obia, Ibraheem and Onwunali (2022), there was

extensive discourse regarding the negative influence of western culture on the indigenous

practices and the negative portrayal of low-income nations to the rest of the world. According

to Obia, Ibraheem and Onwunali (2022), structural imperialism, as a theory, explains how

African nations as the Periphery relate with western nations as the Centre. Structural

imperialism is the dominant representation accorded to western nations in the African media.

Johan Galtung (1971), in propounding the theory, states that the world is a binary contraption

of the Centre (western nations) and the Periphery (developing nations), and that inequality

exists in the way in which one interacts with the other. Galtung’s theory relates to the

relationship between nations, but it can also be applied to media organisations, since ‘the

press is written and read by the centre in the Periphery’ (1971: 93). This suggests that the

media elite in developing nations are aligned with their counterparts in developed nations,

perpetuating what Galtung (1971) calls a ‘harmony of interest’, and this alignment is what

makes imperialism structural. This is particularly so for the media in major cities of

developing countries, cities like Lagos, Johannesburg and Nairobi. These cities are the centre

in the Periphery, and they typically serve as media hubs. According to Galtung (1971), they

17
tend to be aligned with the media centre in the Centre; that is, the media in major cities in

western countries.

Overall, Galtung (1971) observes that there exist five types of structural imperialism:

economy, politics, military, communication and culture. This study is most concerned with

communication imperialism. Here, the Centre is responsible for creating communication

technology and the Periphery is left with little choice but to rely on the Centre, resigned to the

fact that it cannot catch up in the race to develop communication technologies. Beyond

hardware, the global news flow is also controlled by the Centre. Due to this imbalance,

Periphery nations are more exposed to news from Centre nations than vice versa. Structural

imperialism further suggests that the media in periphery nations do not cover other nations

that are in close proximity the same way they do Centre nations.

This implies that those in Periphery nations know more about Centre nations than they know

of their neighbours. It shows that international news coverage, and, by extension, the

representation of nations revolves around the terms set by the media in Centre nations--hence,

the existence of structural imperialism by design. When it comes to the representation of

western nations by the media in Africa, this imperialism becomes heightened since the

African media generally relies on the apparatus of the West to cover the West. Galtung (1971)

points to this apparatus and shows that in no way is the reliance on the western apparatus

more evident than in the dependence of the media in periphery nations on international news

agencies for global news. These international news agencies are dominated by the Big Three

(AFP, AP and Reuters), with strong ownership ties in France, the United States and the

United Kingdom. They play a major role in policing global news flow.

Machira alludes to the existence of structural imperialism in the media, noting: The media is

owned exclusively by Western corporate giants whose financial and technological wealth

allows them to dictate not only what is reported about the whole world, but they also

18
determine what is reported (or rather ‘exported’) to the African media about Africa and the

world in general.

According to Obia, Ibraheem and Onwunali (2022), the implication of this is that African

media organisations likely represent Africa and the West the same way the West represents

Africa and itself. Galtung further observes that journalists in Periphery nations have been

trained ‘to see events with Centre eyes’, and that a ‘chain of communication’ has been set up

to filter and process ‘events so that they fit the general pattern’ (1971: 94). If African

journalists have been trained to see with ‘Centre eyes’, then in what manner are the nations

and peoples (of the Centre) being represented by the African media? Does this mean that

Centre nations effectively dictate how they are represented by the media in Periphery

nations? We consider these questions in the findings, but before this, we outline our

methodological approach.

Uses and Gratifications Theory

This is a Mass Communication theory that focuses on the needs, motives and gratifications of

media users. Uses and gratifications theory (UGT) is an approach to understanding why and

how people actively seek out specific media to satisfy specific needs (Kamboj, 2020). UGT is

an audience-centred approach to understanding mass communication. Diverging from other

media effect theories that question "what does media do to people?” UGT instead focuses on

"what do people do with media? It postulates that media is a highly available product and the

audiences are the consumers of the same product.

This communication theory is positivistic in its approach, based in the socio psychological

communication tradition, and focuses on communication at the mass media scale. The driving

question of UGT is: Why do people use media and what do they use them for? UGT

discusses how users deliberately choose media that will satisfy given needs and allow one to

enhance knowledge, relaxation, social interactions/companionship, diversion, or escape. UGT

19
assumes that audience members are not passive consumers of media. Rather, the audience has

power over their media consumption and assumes an active role in interpreting and

integrating media into their own lives. Unlike other theoretical perspectives, UGT holds that

audiences are responsible for choosing media to meet their desires and needs to achieve

gratification. This theory would then imply that the media compete against other information

sources for viewers' gratification.

UGT has a heuristic value today because it gives communication scholars a "perspective

through which a number of ideas and theories about media choice, consumption, and even

impact can be viewed".The personal motivations for media use suggest that the media offer

gratifications which are expected by audiences. These gratifications can be thought of as

experienced psychological effects which are valued by individuals. In the 1980s, Palmgreen

and Rayburn thus proposed a model of the gratifications sought (GS) and gratifications

obtained (GO) process. GS refers to the rewards people seek from the media. GO refers to the

rewards people receive from the media.

In 1980, to investigate the relationship between GS and GO, Palmgreen et al. conducted a

study of gratifications sought and obtained from the most popular television news programs.

This study investigated the relationship between gratifications sought (GS) from television

news and gratifications obtained (GO) from network evening news programs Each GS

correlated moderately to strongly with its corresponding GO for the respondent's

most-watched program. Correlations between each GS and noncorresponding GOs were

generally much lower. The findings indicate considerable promise for a sought versus

obtained conceptualization of uses and gratifications.

In 1985, Palmgreen et al. conducted an investigation that provides support for a process

model of uses and gratifications based upon an expectancy-value approach. Results of the

study supported the hypothesis that gratifications obtained are strongly related to the beliefs

20
about media attributes but are not related to evaluations of those attributes. Also, the belief X

evaluation products are correlated with gratifications obtained. When controls were instituted

for certain intervening variables posited by the model, the hypothesised reductions in various

relationships occurred. The model has significant implications for media consumption

processes. Further, the results demonstrated that gratifications sought and obtained may be

measured at the same level of abstraction, contrary to earlier speculation.

2.3 Summary

It is a quantitative research study designed to explore and examine the socio-economic

influence of Netflix on the Nigeria movie industry and the Nigerian economy in general.

Although Netflix has influenced the recognition of Nigerian films, it has also had a

significant impact on Nollywood cinematic culture; the influx of Netflix as an international

marketing platform has introduced undesirable practices into the Nigeria movie industry.

Similarly, while there is an increasing body of evidence that Nigeria’s Nollywood lags

America’s Hollywood in several ways, including personal wealth, international exposure and

international awards and recognition of actors and actresses, there are scanty studies

demonstrating the potential of Netflix as a marketing platform to put Nollywood in a more

economically advantageous position so that local cast, including film producers and

executives can achieve equal measure of commercial and personal success and recognition

like Hollywood of the United States The purpose of this research is to highlight the marketing

challenges facing the Nigerian movie industry – Nollywood. Netflix will be the focus of

attention as the research makes a case for the recognition of this multimillion-dollar industry.

The overarching question is “Why Nigerian movies – as epitomised by the case of

Nollywood – continue to lack box office appeal and poorer personal and global recognition of

local actors and actresses” the research will be designed to examine not only the challenges

21
of marketing platform (Netflix), but as well as the the poor marketing-mix strategies adopted

– notably weak marketing communications and poor product (movie) quality

The problem is the negative impacts of Netflix, an international marketing platform, on the

socioeconomic dynamics of Nigeria. The research mainly focuses on the socio-economic

influence of Netflix on the Nigeria movie industry and the Nigerian economy in general. The

area of the study will be limited to how Netflix has not only influenced the recognition of

Nigerian films, but also the impact that Netflix has had on the Nollywood cinematic culture.

The research will explore the role of Netflix in promoting economic and financial dynamics

of the movie industry and the Nigerian economy. It will explore how Netflix has contributed

to nudities in the local movie industry, and the knowledge of people in Nollywood about the

role of marketing and movie quality in promoting the financial reward and international

recognition of Nollywood cast.

22
 CHAPTER THREE

METHODOLOGY

3.0 Introduction

It is a quantitative research study designed to explore and examine the socio-economic

influence of Netflix on the Nigeria movie industry and the Nigerian economy in general. The

area of the study will be limited to how Netflix has not only influenced the recognition of

Nigerian films, but also the impact that Netflix has had on the Nollywood cinematic culture.

The overarching aim of this research includes studying the influence of Netflix on the

socio-economic dynamics of Nigeria movie industry and the Nigerian economy in general.

The research paradigm, settings, and philosophy will be discussed, including the research

methodology and research design followed by the ethical considerations in this study. The

rationale or suitability for using a quantitative research strategy and descriptive survey

research design will be discussed. There will be efficient comparisons of quantitative

descriptive research study with other research approaches such as qualitative methods and

systematic reviews, and the rationale for using this method of data collection rather than other

research types. Finally, the dynamics and the frameworks of quantitative descriptive research

study which includes advantages and disadvantages will be explained. The chapter will end

with a summary.

23
The problem addressed in this study includes the dynamics and the frameworks of the influx

of Netflix as an international marketing platform and the introduction of undesirable practices

into the Nigeria movie industry. The focus of this study is examining marketing challenges

facing the Nigerian movie industry – Nollywood. Netflix will be the focus of attention as the

research makes a case for the recognition of this multimillion-dollar industry.

3.1 Research philosophy /paradigm

According to Sürücü and Maslakci (2020), quantitative methods emphasise objective

measurements and the statistical, mathematical, or numerical analysis of data collected

through polls, questionnaires, and surveys, or by manipulating pre-existing statistical data

using computational techniques. Quantitative research focuses on gathering numerical data

and generalising it across groups of people or to explain a particular phenomenon. In this

study, the phenomenon under investigation is the dynamics and frameworks of foreign

marketing platform, Netflix, to examine its influence on the socio-economic dynamics of

Nigeria movie industry and the Nigerian economy in general. The quantitative method

involves numerical values and statistical analysis to make sense of a phenomenon (Maxwell,

2021). The implication is that the researcher will be able to investigate happenings in their

natural settings using their descriptions, perceptions, and views regarding the phenomenon

being studied, which are quantifiable.

According to Duckett (2021), the goal in conducting quantitative research study is to

determine the relationship between variables within a population. Quantitative research

designs are either descriptive (subjects usually measured once) or experimental (subjects

measured before and after a treatment). A descriptive study establishes only associations

between variables; an experimental study establishes causality. Quantitative research deals in

24
numbers, logic, and an objective stance. Quantitative research focuses on numeric and

unchanging data and detailed, convergent reasoning rather than divergent reasoning (i.e., the

generation of a variety of ideas about a research problem in a spontaneous, free-flowing

process).

Nardi (2018) established major characteristics of quantitative research to include the

following:

● The data is usually gathered using structured research instruments.

● The results are based on larger sample sizes that are representative of the

population.

● The research study can usually be replicated or repeated, given its high reliability.

● Researchers have a clearly defined research question to which objective answers

are sought.

● All aspects of the study are carefully designed before data is collected.

● Data are in the form of numbers and statistics, often arranged in tables, charts,

figures, or other non-textual forms.

● Projects can be used to generalise concepts more widely, predict future results, or

investigate causal relationships.

● Researchers use tools, such as questionnaires or computer software, to collect

numerical data.

The overarching aim of a quantitative research study is to classify features, count them, and

construct statistical models in an attempt to explain what is observed.

3.2 Rationale for adopting quantitative research and descriptive survey design

Quantitative and descriptive survey research design was used as the study design in the

paper. The researcher employed a quantitative research strategy and descriptive survey

25
research design to collect data regarding the influence of Netflix on the socio-economic

dynamics of Nigeria movie industry and the Nigerian economy in general. This study design

was chosen because of its ability to aid researchers in gaining deeper insight into the research

problem, investigate the variables identified as well as to describe, explain and validate

research findings on the subject matter. Having established that there are significant

influences of Netflix on the socio-economic dynamics of Nigeria movie industry and the

Nigerian economy in general, the descriptive research design helps to further evaluate and

describe the extent to which Netflix has negatively impacted on the social dynamics of the

Nigerian movie industry. Investigations will also be made on existing variables; including

what marketing challenges were faced by Nollywood before the advent of Netflix and what

roles does Netflix play in promoting nudity and obscenities in the Nigeria movie industry.

The study design is quantitative in nature and data for the study will be collected primarily

from the respondents/participants who work in the film and communication industry as well

as the general audience with the use of self-developed questionnaires.

Quantitative research is appropriate given that the aim of the research was to identify

characteristics, regularities (frequencies), inclinations, and categories. It was suitable because

a limited amount of knowledge was known about the role of marketing and movie quality in

promoting individual financial reward and international recognition. Sheard (2018) asserted

that quantitative research is especially ideal for when a researcher needs to comprehend how,

when and where something happens or has happened. The importance of descriptive research

survey is to have a proper understanding of the essence or significance of a research problem

before investigating the worth of its existence to begin with (Jung 2019).

3.3 Quantitative case study and other research types and research designs

In general, Bruce, Pope and Stanistreet (2018) claimed quantitative research seeks to

understand the causal or correlational relationship between variables through testing

26
hypotheses, whereas qualitative research seeks to understand a phenomenon within a

real-world context through the use of interviews and observation. Both types of research are

valid, and certain research topics are better suited to one approach or the other. However, it is

important to understand the differences between qualitative and quantitative research so that a

researcher will be able to conduct an informed critique and analysis of any research studies

(Bruce, Pope and Stanistreet 2018).

As for quantitative, however, Holton and Burnett (2015) stated that not all quantitative

research looks for “causation”. If a researcher is doing a correlational study, then they are

looking for relationships between the null and alternative hypothesis based on probability.

The standard probability used in a quantitative study is p=.05 (this means a 95% probability).

A researcher uses the probability percentage to accept or reject the null hypothesis. In recent

years (due to advances in statistical software) some research studies are now using p=.01

(99% probability). As a final note, while most research studies are correlational, followed by

ex post facto (looking at data that has already been collected by someone else), quantitative

studies, and using descriptive survey research has been consistently found to be suitable for

examining the causation or correlations between two or more variables.

Participants, recruitment and location

For this study, Lagos, the commercial capital of Nigeria and the centre for Commerce and

entertainment in Nigeria was chosen. The reason for the selection of this location is the city’s

reputation as being home to the Nigerian movie industry. Lagos has been the most vibrant

commercial state in Nigeria. The region remains one of the fastest growing megacities in

sub-Saharan Africa according to a recent NDU report (Ayokunmi, Seman and Rashid 2022).

Starting with a sample of 100-150 participants, the researcher will obtain data from relevant

individuals who regularly watch movies. These participants in this study will meet the

following inclusion criteria as to eligibility: (a) have access to the internet and Netflix (b)

27
have been involved in a movie or communication project in an organisation for at least five

years (c) be a resident in the location where the study will be conducted (Lagos State,

Nigeria). The target participants will include 100-150 relevant movie audiences residing in

Lagos. This study will collect quantitative data from movie watchers and university students

using a self-administered questionnaire with five-point Likert-scaled questions.

3.4 Data Collection Method

Quantitative analysis will be conducted using appropriate statistical tests such as the

Chi-squared test or the Student's T test using Statistical Package for Social Science (SPSS),

version 27 for quantitative data analysis. The probability level will be set as 5% therefore p

<0.05, meaning any results below this will be significant. Data collection will be done using a

self-developed questionnaire aimed at obtaining responses from the participants in line with

the study objectives of examining the opportunities and challenges of Netflix. The

questionnaire was based on a 5-point Likert scale of Strongly Agree (SA), Agree (A),

Undecided (U), Disagree (D) and Strongly Disagree (SD). The questionnaire generally was

made up of three sections which were; an introductory section which stated the aim of the

research, a demographics section as well a section that contained questions around the

research objectives. The delivery of the questionnaires will be done using google doc with

detailed information to educate the study participants on how to respond to the individual

questions; after which they were returned, processed and cleaned in preparation for data

analysis.

The target participants will include 100-150 movie audiences, including viewers and casts

residing in Lagos. These individuals will be used for the data collection. This study will

collect quantitative data from using a self-administered questionnaire with five-point

Likert-scaled questions.

28
Relevant information will be sent to moviegoers who will include mainly university students,

who will decide whether they wish to participate. If they are willing, they will be sent a

questionnaire link to complete.

Method of data analysis

This study will make use of the Statistical Package for Social Sciences (SPSS) for this

purpose with measures such as frequency distribution, percentage, correlation and regression

utilised for answering the research questions and testing the hypotheses. Quantitative analysis

will be conducted using appropriate statistical tests using the Statistical Package for Social

Science (SPSS) for quantitative data analysis. Excel will be used to copy and paste into SPSS

and save it as an SAV file for SPSS analysis. Tables will be used to show the frequency and

pie clustered charts will be used to show the percentage visualisation.

Consent

A consent form will be sent out to the participants, alongside a participant’s information sheet

explaining the purpose of the study. If participants would like to volunteer, they can give their

consent by completing and returning a signed consent form and indicating that they have read

the details of the consent form or by agreeing to consent at the start of the questionnaire. If

they submit their questionnaire, this will be an indication of them providing their consent,

which is explained on the consent form. Participants will be informed that they can withdraw

from the study anytime they wish without any penalty incurred to them and there will be no

undue influence on participants to consent. I am going to ensure that I comply with the

General Data Protection Regulation (GDPR) during and after the consent process, especially

as I will be collecting sensitive data in the course of the research.

Ethical implication

Privacy and confidentiality of organisational data are essential ethical issues. Therefore, data

management and electronic data will be stored on a flash drive for three years to maintain

29
confidentiality. In general, the regulation requires that all raw data be kept for a minimum of

3 years after study completion and locked in a filing cabinet in a home office. Some physical

features of flash storage provide it an advantage over hard drives. Due to the lack of moving

parts that hard drives contain, such as stacks of spinning platters and read/write heads

navigating those disks, flash drives are anticipated to be more robust than hard drives.

Electronic data will be deleted from the flash drive using Secure Erase, an effective

application for overwriting an entire drive in a single pass. All information will be

safeguarded in a locked safe. Long-term confidentiality will be retained indefinitely.

3.5 Summary

Paraphrasing the assertions of Agina (2021), there are disparities in the overall makeup and

economic and personal successes of America’s Hollywood and Nigeria's Nollywood (Oxford

Analytica. (2021). More importantly, the influx of Netflix as an international marketing

platform has introduced undesirable practices into the Nigeria movie industry. The literature

has extensively covered socio-economic influence of Netflix on the Nigeria movie industry

and the Nigerian economy in general. Specifically, the study sought; to mainly focus on the

socio-economic influence of Netflix on the Nigeria movie industry and the Nigerian economy

in general. The area of the study will be limited to how Netflix has not only influenced the

recognition of Nigerian films, but also the impact that Netflix has had on the Nollywood

cinematic culture. The research will explore the role of Netflix in promoting economic and

financial dynamics of the movie industry and the Nigerian economy. It will explore how

Netflix has contributed to nudity in the local movie industry, and the knowledge of people in

Nollywood about the role of marketing and movie quality in promoting the financial reward

and international recognition of Nollywood. The problem is the negative impacts of Netflix

on the decency of and competitiveness of Nollywood. The focus of this study is to explore

30
marketing challenges facing the Nigerian movie industry and to examine the role of Netflix in

promoting economic and financial dynamics of the movie industry and the Nigerian

economy. A more significant, overarching question is to explore how Netflix has contributed

to nudity in the local movie industry.

Therefore, methodology is essential as it outlines a researcher's approach to the study in order

to guarantee trustworthy, genuine findings that meet the goals and objectives.

The identification of the research design of the present study is important as it gives vital

information about the key features of the study. For this study, a descriptive survey design

was used to evaluate the impacts of Netflix in promoting economic and cultural dynamics of

the Nigerian movie industry. This study design was chosen because of its ability to aid

researchers in gaining deeper insight into the research problem, investigate the variables

identified as well as to describe, explain and validate research findings on the subject matter.

The descriptive research design helps to further evaluate and describe the extent to which

small Netflix has had significant negative impacts on the quality of Nigerian movie industry,

Nollywood.

The study design is quantitative in nature and data for the study was collected primarily from

the respondents/participants who were employees in learning organisations and business

owners using a self-developed questionnaire. Quantitative research is appropriate given that

the aim of the research was to identify characteristics, regularities (frequencies), inclinations,

and categories. It was suitable because a limited amount of knowledge was known about

people in Nollywood regarding the role of marketing and movie quality in promoting the

financial reward and international recognition of Nollywood.

31
 CHAPTER FOUR

DATA ANALYSIS AND DATA PRESENTATION

This chapter analysed the collected data for this study. 100 respondents were drawn for the

analysis, and the 100 questionnaires distributed were filled correctly. This represents 100% of

the total respondents selected for the study. As such, the analysis will be based on the return

of the 100 filled questionnaires.

DEMOGRAPHIC FACTORS

Table 1: Gender of respondents

Gender Frequency

Male 45

Female 55

Total 100

32
The chart above shows the gender of the respondents. 55% of the entire sample are female,

while 45% make up for the male. It shows that more females are interested in Nollywood

than the male respondents.

Table 2: Age of respondents

Age of respondents Frequency

18 - 24 11

25 - 35 62

36 - 45 20

46 - 55 6

56 - 60 1

60 and above 0

Total 100

33
The chart for table 2 shows the age of the respondents. Out of 100 respondents, 1% are

between the ages of 56-60, 6% are between the ages of 46-55, 11% are between the ages of

18-24, while 62% of the respondents are between the ages of 25-35. None of the respondents

are between ages 56-60. It shows that 82% of the respondents know about Netflix and are

possibly paid subscribers of the platform.

Table 3: Educational level of respondents

Educational level Frequency

SSCE 5

OND 4

HND 4

B.SC 50

MASTERS 35

PHD 2

34
 OTHERS 0

Total 100

The table shows that the majority of the respondents totaling 85% have either a B.Sc or

Masters’ degree. Respondents with OND and HND have 4% each, totaling 8 of the 100

respondents. And 2% of respondents have P.hD. This chart shows that most of the

respondents do not only have basic education, but also have also have higher education. As

such, this shows that many Nigerians are interested in further studies beyond basic education.

Table 4: Profession of respondents

Profession Frequency

Film making & production (producer, 10

scriptwriter, director, editor, actor etc)

Others 90

Total 100

35
Majority of the respondents totaling 90% do not work in the Nigerian movie industry- they

are not involved in any form of filmmaking. Only 10% of the respondents are in the industry.

This pie chart shows that for people to be interested in Nigeria’s creative industry, the

industry should be more professional and operate in similar standards like other sectors.

Table 5: Location of the respondents:

Where do you live Frequency

Lagos 76

Outside Lagos 24

Total 100

36
Of the 100 respondents, 76% live in Lagos state, while the remaining 24% live outside. This

chart shows that most people who have access to Netflix live in Lagos. Little wonder, Lagos

state is described as the economic capital of Nigeria, and there is the likelihood that the

people with high purchasing power live in Lagos. This is because to access Netflix, paid

subscribers must also have access to the internet to watch movies on the platform.

ANALYSIS OF RESEARCH QUESTIONS

RESEARCH QUESTION 1: WHAT ARE THE MARKETING CHALLENGES THAT

THE NIGERIAN MOVIE INDUSTRY FACES?

Table 6: Nollywood movies platform

Nigerian movies are watched more on Frequency

Netflix than on any other medium, such as

Netnaija and IrokoTV

37
 Strongly disagree 3

Disagree 22

Neutral 35

Agree 22

Strongly agree 18

Total 100

40% of respondents regard Netflix as a source for Nollywood films, 25% disagree that

movies shown on Netflix get more visibility compared to Netnaija and IrokoTV, while 35%

are neutral. This shows that Netflix is gaining traction within the Nigerian household,

because they have good marketing strategies that make the platform more favourable

compared to the other local platforms.

Table 7: Quality and content of Nigerian movies

The quality and content of Nigerian movies Frequency

on Netflix are superior to those produced by

other platforms or sources

38
 Strongly disagree 1

Disagree 13

Neutral 36

Agree 32

Strongly Agree 18

Total 100

50% of the respondents agreed that the quality and contents of the movies produced and

shown on Netflix are better than what other local platforms produce. 14% of the respondents

disagree while 36% are neutral. This shows that Netflix has the required structures that help it

produce quality content and also gain subscribers to its platform. Thus, the local platforms

lack the required structures and content that will help them to gain more subscribers.

Table 8: Marketing of Nigerian movies

Netflix is an effective medium of marketing Frequency

39
 for Nigerian movies

Strongly disagree 2

Disagree 4

Neutral 10

Agree 45

Strongly agree 39

Total 100

84% of respondents believe that Netflix is an effective medium of Nigerian movies, while

just 6% disagree and 10% are neutral. This shows that a movie shown on Netflix enjoys more

prominence compared to others shown on a local platform.

Table 9: Netflix helps Nigerian movies get more viewership

Netflix has helped Nigerian movie industry Frequency

to reach a wider audience

40
 Strongly disagree 2

Disagree 2

Neutral 5

Agree 36

Strongly agree 55

Total 100

A whopping 91% of the respondents agreed that Netflix has helped Nollywood movies to

reach a far wider audience, 4% disagree and 5% are neutral about how Netflix promotes

Nigerian movies to a wider audience. With this assertion, it can be said that Netflix has the

structures required to market these movies.

41
Table 10: Demands for Nigerian movies in local and international markets

Netflix has upped the demand and supply of Frequency

Nigerian movies in the local and

international markets

Strongly disagree 1

Disagree 3

Neutral 22

Agree 53

Strongly agree 21

Total 100

Of the 100 respondents, 74% agree that because of Netflix, Nigerian movies have gained

increasing popularity in the local and international markets. Just 4% disagree, while 22% are

neutral about how Netflix has upped the demand of Nigerian movies in the local and

international markets.

42
RESEARCH QUESTION 2: WHAT IS THE INFLUENCE OF NETFLIX ON THE

SOCIO-ECONOMIC DYNAMICS OF THE MOVIE INDUSTRY AND THE NIGERIAN

ECONOMY IN GENERAL?

Table 11: Marketing and movie quality enhance professional growth

Marketing and movie quality have enhanced Frequency

my personal and professional growth in the

Nigerian movie industry

Strongly disagree 3

Disagree 20

Neutral 39

Agree 31

Strongly agree 7

Total 100

39% show neutrality in this aspect of professional growth through the quality and marketing

of Nollywood movies, 38% agree that marketing and movie quality can enhance their growth

43
while 23% disagree. This shows that more training on how quality production and marketing

strategies are needed to develop the sector.

Table12: Marketing and movie quality attract and retain viewers

Marketing and movie quality are used to Frequency

attract and retain loyal and satisfied viewers

for your movies

Strongly disagree 1

Disagree 4

Neutral 18

Agree 50

Strongly agree 27

Total 100

Of the 100 respondents 77% agreed that movie quality and marketing can satisfy and retain

viewers. 5% disagree and 18% are neutral. Hence, for any movie to break a record or box

office, it is important that the movie quality is top-notch and a good marketing platform to

44
help promote the movie which in turn will a big source revenue, and will ultimately

contribute to the economic development of Nigeria

Table 13: Netflix is good for Nigeria’s socio-economic development

Netflix marketing of Nollywood movies is Frequency

good for the future socioeconomic

development of Nigeria

Strongly disagree 0

Disagree 1

Neutral 11

Agree 51

Strongly agree 37

Total 100

88% of respondents agreed that Netflix is good for the socio-economic development of

Nigeria. 11% expressed neutrality while just 1% disagree. Hence, the chart shows that Netflix

is a good foreign direct investment (FDI).

45
RESEARCH QUESTION 3: WHAT ROLE DOES NETFLIX PLAY IN PROMOTING

NUDITY AND OBSCENITIES IN THE NIGERIA MOVIE INDUSTRY?

Table 14: Netflix promotion of obscenities

Netflix has brought a higher level of nudity Frequency

to Nigerian Nollywood

Strongly disagree 2

Disagree 35

Neutral 36

Agree 22

Strongly agree 5

Total 100

37% disagreed that Netflix promotes obscenities and nudity in the movie content they show

on the platform, 27% agree while 36% show neutrality. It shows that Netflix proportionally

promotes nudity and obscenities in Nollywood.

46
47
Table 15: Moral Values of Nigerians

Netflix has deteriorated the moral values of Frequency

Nigerian viewers of Nollywood movies

Strongly disagree 7

Disagree 41

Neutral 39

Agree 8

Strongly agree 5

Total 100

48% of respondents disagree that Netflix has deteriorated the moral values of viewers of

Nollywood viewers, 39% are neutral and 13% agree with the assertion. This shows that

Netflix subscribers are not overly influenced by the contents they view on Netflix.

Nonetheless, some are influenced in little doses.

48
Table 16: Introduction of nudity and obscenities

Netflix has introduced more nudity and Frequency

obscenities into Nollywood

Strongly disagree 6

Disagree 39

Neutral 36

Agree 17

Strongly Agree 2

Total 100

45% disagree that Netflix has introduced more nudity and obscenities into Nollywood, 36%

show neutrality while 19% agree. The chart shows that general views of Netflix’s content are

relative.

49
Table 17: Nigeria’s reputation

Nudity and obscenities affect the reputation Frequency

and image of Nigeria and its movie industry

in the global context

Strongly disagree 6

Disagree 36

Neutral 30

Agree 19

Strongly agree 9

Total 100

The chart above shows that 42% disagree that Nigeria’s reputation is affected in the global

context, 30% show neutrality while 28% agree that nudity and obscenities affect Nigeria’s

reputation. The chart shows that Nollywood movies on Netflix do not generally affect

Nigeria’s image in the global context.

50
Table 18: Government regulation

Government regulation should be Frequency

introduced in response to the high level of

nudity and of obscenities and obscenities in

Nigerian movies

Strongly disagree 7

Disagree 12

Neutral 31

Agree 36

Strongly Agree 14

Total 100

50% of respondents agree that the government should introduce regulations to check nudity

and obscenities, 36% are neutral while 19% disagree. This chart shows that Netflix contents

51
have a prevalence in obscenities and nudity, and so the government should ensure that

regulations are put in place to check excessive nudity and obscenities.

RESEARCH QUESTION 4: WHAT IS THE KNOWLEDGE OF PEOPLE IN

NOLLYWOOD ABOUT THE ROLE OF MARKETING AND MOVIE QUALITY IN

PROMOTING INDIVIDUAL FINANCIAL REWARD AND INTERNATIONAL

RECOGNITION?

Table 19: Knowledge and skills for movie quality and marketing

I have robust knowledge and skills in Frequency

marketing and movie quality

Strongly disagree 6

Disagree 22

Neutral 32

Agree 32

Strongly agree 8

TOTAL 100

52
40% agreed they have the prerequisite for movie marketing and quality, 28% do not agree

they have the skills, while 32% are neutral about their skills and knowledge of movie

marketing and content. Question 4 shows that only 10% of respondents work in the Nigerian

movie industry. It shows that for the sector to contribute effectively to the economic

development of Nigeria, the industry should position itself in such a way that will make it

attractive to people with the right skills, knowledge and structures that will make it less

dependent on foreign marketers.

Table 20: Competition and collaboration

I use marketing and movie quality to Frequency

compete and collaborate with other movie

industry players in the regional and global

markets

Strongly disagree 1

Disagree 13

Neutral 38

Agree 34

Strongly agree 14

Total 100

53
48% agreed that movie quality and marketing can make Nollywood compete and collaborate

with movie industry players in the regional and global markets. 38% are neutral while 14%

disagree. The chart shows that if well positioned -in terms of structures and government

support- Nigeria can be a competitive force in the region and globally, just like Hollywood.

INTERPRETATION OF DATA

RESEARCH QUESTION 1: WHAT ARE THE MARKETING CHALLENGES THAT

THE NIGERIAN MOVIE INDUSTRY FACES?

Research question one was answered by table 6,7,8,9 and 10. In table 6, 40% of respondents

regard Netflix as a source for Nollywood films. 50% of the respondents agreed that the

quality and contents of the movies produced and shown on Netflix are better than what other

local platforms produce as shown in table 7. While the chart for table 8 reveals that 84% of

respondents believe that Netflix is an effective medium for showing Nigerian movies.

RESEARCH QUESTION 2: WHAT IS THE INFLUENCE OF NETFLIX ON THE

SOCIO-ECONOMIC DYNAMICS OF THE MOVIE INDUSTRY AND THE NIGERIAN

ECONOMY IN GENERAL?

Research question two was answered by the table 11, 12 and 13. Table 11 39% show

neutrality in the aspect of professional growth through the quality and marketing of

54
Nollywood movies. 77% agreed that movie quality and marketing can satisfy and retain

viewers. While 88% of respondents agreed that Netflix is good for the socio-economic

development of Nigeria.

RESEARCH QUESTION 3: WHAT ROLE DOES NETFLIX PLAY IN PROMOTING

NUDITY AND OBSCENITIES IN THE NIGERIA MOVIE INDUSTRY?

Research question three was answered by table 14, 15, 16, 17 and 18. The chart in table 14

reveals that 37% disagreed that Netflix promotes obscenities and nudity in the movie content

they show on the platform. The chart in table 15 shows that 48% of respondents disagree that

Netflix has deteriorated the moral values of Nollywood viewers. For the chart in table 16 only

45% disagree that Netflix has introduced more nudity and obscenities into Nollywood. For

table 17 the chart shows that 42% disagree that Nigeria’s reputation is affected in the global

context. Despite tables 16 and 17 showing that Netflix does not show too much nudity and

obscenities, 50% of respondents agree that the government should introduce regulations to

check nudity and obscenities as shown in the chart in table 18.

RESEARCH QUESTION 4: WHAT IS THE KNOWLEDGE OF PEOPLE IN

NOLLYWOOD ABOUT THE ROLE OF MARKETING AND MOVIE QUALITY IN

PROMOTING INDIVIDUAL FINANCIAL REWARD AND INTERNATIONAL

RECOGNITION?

Research question four was answered by table 19 and 20. In table 19, the chart shows that

40% agreed they have the prerequisite for movie marketing and quality. While for table 20,

48% agreed that movie quality and marketing can make Nollywood compete and collaborate

with movie industry players in the regional and global markets as revealed in the chart.

4.1 DISCUSSIONS OF FINDINGS

55
Having carried out this research using Netflix as a study, we can see that many Nigerians are

educated enough to know how to access Netflix contents, and they also view Netflix’s

marketing strategies as top-notch that will enable Nigerian movie marketers to overcome the

sector’s marketing challenges. This answered research question one which asked about the

marketing challenges of Nigerian movies. As such, film makers must churn out quality

contents if they want their movies shown on Netflix. This is used to relate to one of the

findings in a study reviewed in this research which states that Netflix original content is

content licensed or produced by Netflix.

The finding also shows how Netflix influences the socio-economic dynamics on the Nigerian

movie industry and her economy. Netflix gained popularity following the outbreak of the

novel coronavirus in 2020 where people could no longer go to the cinema to watch movies.

Not forgetting also that Netflix is mobile- you can watch any movie on Netflix directly from

your mobile phone.

Additionally, the finding reveals if adequate support is provided for the industry, local

platforms can compete effectively with their international counterparts to market movies to a

larger and wider audience.

Despite this, findings show that people still want Netflix to respect the culture or norms being

practised in Nigeria, by ensuring the Government regulates contents to reduce nudity and

obscenities.

Nevertheless, many people prefer Netflix to other local platforms that show Nigerian movies

because it satisfies their entertainment needs, which can be accessed anytime because of

Netflix’s mobility nature.

56
The study supports the structural imperialism theory which states that as a means of

sophisticated dominance, Centre states establish in the centre of the Periphery states -90% of

respondents live in Lagos, the economic nerve-centre of Nigeria. Structural imperialism often

uses media power to implement the system of cultural hegemony that legitimises

imperialism. It stresses that those with structures are likely to dominate those with less

structures or support.

Uses and gratification theory also asserts that users will deliberately choose the media that

will satisfy their given needs and also enhances their knowledge, relaxation, social

interaction, diversion or escape. Thus, people will continue to choose Netflix since it provides

the contents they like and satisfies their media nee

CHAPTER FIVE

SUMMARY, CONCLUSION AND RECOMMENDATION

5.1 Summary

The study examined the challenges and opportunities of platform marketing of Nollywood

movies- a study of Netflix. The study sought to find out how Netflix provides an opportunity

to showcase Nollywood to a wider audience, but also how it poses a great challenge to local

marketers.

Literature relevant to the study were reviewed and two theories: Structural imperialism

propounded by Johan Galtung and Uses and gratification theory propounded by Katz.

The survey method was used for the study and questionnaire was used for the data collection.

The study involves both respondents that work in the film industry and those who do not

work in the industry.

57
 The study answered the following question:

1. What are the marketing challenges that the Nigerian movie industry faces?

2. What is the influence of Netflix on the socio-economic dynamics of Nigeria movie

industry and the Nigerian economy in general?

3. What roles does Netflix play in promoting nudities and obscenities in the Nigeria

movie industry?

4. What is the knowledge of people in Nollywood about the role of marketing and movie

quality in promoting individual financial reward and international recognition?

Questions were developed from the research questions that were used to design the

questionnaire. The questionnaire had a total of 25 questions which were used to gather the

information for the study. And afterwards, SPSS was used to analyse the collected data, while

excel was used to create the tables as well as the clustered and pie charts for visual

representation.

5.2 Major Findings

I.Nigerians will choose a platform that can provide their entertainment needs, especially a

foreign one, especially since they can also access international contents.

II.They want the government to provide adequate support (structures) that will make Nigeria

competitive in the global entertainment market.

III.Most Nigerians want the government to ensure that checks are put in place to prevent nudity

and obscenities

IV.Nigerians see Netflix as a source of foreign direct investment (FDI) which is good for the

economy

58
 V.Nigerian wants film makers and other practitioners to produce original contents that will help

Nigeria to compete and secure international collaborations

VI.Nigerians are educated across both genders and have basic knowledge on economic

development through entertainment

VII.Netflix enjoys prominence because it has the structural power to produce and influence media

outcomes.

5.3 Conclusion

The study has shown that with the advent of new media and advancement in technology,

Nigeria must take advantage of her population to grow the economy by investing in the

people and providing the structures that will enable Nigeria to play an active role in the

international setting. Especially as technology has made it possible for the media to be

mobile. Having the structures will bring about relational power which can also minimise

dominance from other states.

While foreign direct investment (FDI) should be encouraged, it is important that local

platforms are encouraged to compete as well. For instance, South Africa has Showmax. Even

though it is not at the level of Netflix, Showmax still enjoys patronage because they have

some content -local and international- that enables it to retain subscribers and this makes it

competitive with Netflix.

5.4 Recommendation

1. The government should collaborate and support the university environment and other

such institutes to carry out continuous researches on how to position Nigeria’s

communication sector as a source of economic development

59
2. The study of platform marketing should be encouraged and introduced in the

communications and international affairs studies, as this will help students to gain more skills

and knowledge in quality contents creation

3. New media should be studied as a course, because it is a phenomenon that has gained

traction and will continue to evolve.

4. Education vis-a-vis innovation is a measure of development that contributes to the

economy of a country. And so, Nigeria as a matter of urgency should ensure that appropriate

policies are put in place to promote a sound education that is embedded in innovation.

5. The Nigerian government should take advantage of the popularity and demand of

platform marketing to promote Nigeria's foreign policy through communication and movies.

Developed countries use their media to promote their states’ foreign policies and promote

their own ideologies

6. The government should ensure that Netflix does not use its platform to influence the

psyche of the Nigerian citizens, as the platform is being used to promote American ideology.

60
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