EVALUATING THE IMPACT OF MOVIE STREAMING PLATFORMS ON

CINEMA ATTENDANCE IN NIGERIA IN THE PAST YEAR:

A CASE STUDY OF NETFLIX

By

Khadijah Tebun
Hannah Ufoh
Ngozi Ugwu
SisanVictor-Woko

A dissertation submitted to the School of Media and Communication, Pan Atlantic

University in partial fulfillment of the requirements for its First-semester examination

January 2024
 ABSTRACT

This research delves into the evolving landscape of Nigeria's film industry, examining the

transformative effects of the surge in movie streaming platforms, notably spearheaded by

Netflix. Focusing on the past year, the study observes shifts in cinema attendance influenced

by the ascent of digital platforms. Navigating from the historical roots of Nigerian cinema to

the rise of Nollywood and the expansion of cinema complexes, the research explores the

industry's progression. As a major investor in Nigeria, Netflix emerges as a pivotal player,

contributing significantly to the industry's transformation. The study aims to reveal the

intricate dynamics between Netflix and cinema attendance, addressing shifts in viewer

preferences, accessibility, and overall impacts on traditional cinema experiences. Employing

a mixed-method approach with stakeholder interviews and surveys, 300 questionnaires were

distributed among a random sample of cinema viewers. The findings indicate substantial

changes in movie-watching behaviours among Nigerians, highlighting the notable influence

of movie streaming platforms, particularly Netflix, on cinema attendance. The research

concludes with recommendations to support these observations.

Keywords: Streaming Platform, Cinema Attendance, Netflix

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 ACKNOWLEDGEMENTS

We offer our heartfelt thanks to God, whose boundless mercy accompanied us throughout the

writing of this project. Our gratitude extends to every individual who willingly participated in

completing the questionnaire, contributing to the success of this research. We also appreciate

cinema stakeholders, including FilmOne General Manager Ladun Awobokun, for granting us

an insightful interview that significantly enriched our study. To each person who played a

role in making this research a reality, we are profoundly grateful.

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 DEDICATION

We dedicate this project to the Most High God, and to our friends and course mates who
supported us in completing this project.

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 STUDENT’S DECLARATION

Having thoroughly reviewed and comprehended the School of Media and Communication
Policy on plagiarism, we affirm that this dissertation is a product of our efforts, with all
sources appropriately cited. Furthermore, we declare that this work has not been submitted
for any other purpose.

____________________________

Khadijah Tebun
Hannah Ufoh
Ngozi Ugwu
SisanVictor-Woko

5
 TABLE OF CONTENTS
Title of dissertation………….………………………..……………………………………..i

Abstract.................................................................................................................................ii

Acknowledgments................................................................................................................iii

Dedication..............................................................................................................................iv

Students Declaration............................................................................................................ v

Table of Contents......................................................................................................... vi-vii

List of Tables ...................................................................................................................... viii

List of Figures.......................................................................................................................ix

Chapter One: Introduction and Background

1.1. Background to the Study................................................................................................. 1-3

1.2. Statement of the Problem .............................................................................................. 3-

1.3. Objectives of the Study......................................................................................................

1.4. Research Questions ...........................................................................................................

1.5. Significance of the Study....................................................................................................

1.6. Scope of the Study ........................................................................................................ 5-

1.7. Limitations of the study ................................................................................................... 6

1.8. Operational Definition of Terms....................................................................................6 –

Chapter Two: Literature Review

6
2.1. Conceptual Literature ............................................................................................... 8 - 13

2.. Theoretical Framework.. ............................................................................................13 - 20

2.4. Empirical Literature Review.......................................................................................20 -

22

2.5. Methodological Literature ...................................................................................... 22 - 24

2.6. Summary of findings....................................................................................................

24

Chapter Three: Methodology

3.1. Introduction..................................................................................................................... 25

3.2. Research Design................................................................................................................

25

3.3. Research Method...............................................................................................................27

3.4. Rationale for methods.................................................................................................27 -

28

3.5. Study population ..............................................................................................................

28

3.6. Sampling technique and sample size .........................................................................28 -

29

3.7. Research instrument .........................................................................................................29

3.8. Data Collection Procedure……………………………………………………………….29

3.9. Methods of data presentation and analysis...................................................................29-

30

Chapter Four: Presentation, Analysis, and Interpretation

7
4.1. Introduction ....................................................................................................................30

4.2. Descriptive Statistics .......................................................................................................37

4.3. Interview
Data ...................................................................................................................43

4.4. Discussion of Findings...............................................................................................48 - 50

Chapter Five:Summary Of Discussions, Conclusions and Recommendations

5.1. Summary of

Discussions....................................................................................................50

5.2. Conclusion..................................................................................................................51 -

52

5.3. Recommendation........................................................................................................52 -

53

5.4. Suggestions for Further

Studies.........................................................................................54

5.5. References.................................................................................................................. 54 -

56

APPENDICES ..................................................................................................................57 -

63

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 LIST OF TABLES

Table 4.1 What factors influence your decision to watch a movie in the cinema? (Select all
that apply)........................................................................................................................... 35

Table 4.2 What factors influence your decision to watch a movie on Netflix? (Select all that
apply).................................................................................................................................. 36

Table 4.3 What aspects of Netflix do you find most appealing in comparison to Cinema
attendance? (Select all that apply)..................................................................................... 37

Table 4.4 What aspects of Cinema do you find most appealing in comparison to Netflix?
(Select all that apply).........................................................................................................38

Table 4.5 What would motivate you to choose traditional cinema over movie streaming
platforms in the future? (Select all that apply)....................................................................41

Table 4.6 What would motivate you to choose a movie streaming platform over traditional
cinema in the future? (Select all that apply)........................................................................42

LIST OF FIGURES

Figure 4.1 How often did you visit the cinema in the past

year?..............................................31

Figure 4.2 How often did you use Netflix in the past

year? .......................................................32

Figure 4.3 Shift in your movie-watching preferences from cinema to movie

Streaming platforms like Netflix..............................................................................................33

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Figure 4.4 To what extent do you think Netflix has influenced your cinema attendance over

the past

year?..................................................................................................................................34

Figure 4.5 Has the availability of movies on Netflix affected the quality of movies produced

for cinema release in Nigeria?............................................................................................. 39

Figure 4.6 Has Netflix positively or negatively impacted the Nigerian cinema industry
overall?...................................................................................................................................40

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 CHAPTER ONE
INTRODUCTION

1.1 Background to the Study

In the historical context of cinema operations in colonial Lagos, theatres were established
with explicit approval from the colonial government starting in 1937 (Olubomehin,2012).
Notably, the West African Pictures Company, owned by Mr. S. Khalil, played a pioneering
role by securing rights to use Glover Hall Lagos for cinematographic shows. Subsequently,
Rex Cinema, Ebute Metta, Regal Cinema, and Royal Cinema emerged in the late 1930s and
early 1940s. The Capitol Cinema also made its mark during this period, establishing the first
cinematic connections associated with British colonialists and southern Christian Nigerians.
The introduction of cinema in Kano took place outside the traditional Muslim city, marking a
unique trajectory in its developmental history (Ernest-Samuel, 2019). This initial positioning
did not stem from financial constraints but rather represented a deliberate choice. Pioneer
practitioners faced difficulties sustaining the industry, prompting diverse experimentation,
including the importation of Euro-American motion pictures and the subsequent birth of
Nollywood, before focusing on internally generated soap operas (Uwa, 2021).

Established in 1992, Nigeria's "Nollywood" film industry has grown to be the second most
prolific in the world, producing approximately 2,500 films a year (International Trade
Administration, 2023). Nonetheless, a decline in funding, television infiltration, insufficient
distribution networks, and problems with power supply characterized Nigeria's film industry,
which resulted in a boom in the popularity of television soap operas in the 1980s and 1990s.
Contrastingly, contemporary film consumption in Nigeria extends beyond television screens,
with the emergence of cinema complexes like Silverbird Cinema, Genesis Deluxe Cinema,
and Film House Cinema in Nigeria. In the first half of 2021, approximately 1,491,530 cinema
tickets were purchased, with Nollywood securing 964,523 of those admissions. In contrast,
the first half of 2022 witnessed a decline, with a total of 1,498,934 tickets sold and
Nollywood accounting for 520,656, a marked 46 percent decrease from the previous year.
The cinematic landscape in 2022 saw the release of ten Nollywood films, prominently

11
featuring titles like 'Christmas in Miami,' 'Superstar,' and 'Aki & Pawpaw' as leading
contributors. (Eboigbe, A.E., & Okechukwu, O. 2022).
By the end of February 2022, there were 181,576 recorded cinema admissions, with 47,413
attributed to Nollywood. Comparatively, the same period in 2021 recorded 186,128 tickets
sold, with 166,120 allocated to Nollywood productions. Noteworthy is the performance of
'Omo Ghetto' by Funke Akindele in 2021, which exceeded expectations, grossing over N636
million before transitioning to a streaming platform. In 2022, 'King of Thieves' by Femi
Adebayo emerged as a cinematic force, achieving a total gross of over N300 million,
signalling a significant movement within the industry. (Egboigbe, A.E., & Okechukwu, O.
2022).

The evolving nature of the Nigerian movie industry has witnessed a transformative shift from
television and cinema attendance to the prevalence of movie streaming platforms like Netflix,
Prime Video, and Iroko TV. Since pioneering the online distribution of Nollywood video
films in 2010, Iroko TV has been joined by eleven other movie streaming services in Nigeria,
all with established physical structures. Notably, nine out of these twelve services have
emerged within the past years, signalling a notable surge in Video (VOD) platforms for
Nollywood films. Among the twelve services, eleven operate nationally, making crucial
decisions from their Nigerian headquarters. These include subscription-based platforms like
Iroko TV, IbakaTV, NevedabridgeTV, CongaTV, LindaikejiTV, SceneoneTV, and
Nollywood NamasteTV; transactional services such as ShugabanTV; and hybrid services like
AirtelTV, NvivoTV, DeloniferaTV, and NollywoodTV.

This study is narrowed down to Netflix as the most popular movie streaming platform. As a
fully invested organization in the Nigerian movie market with an established office in
Nigeria, Netflix has initiated substantial investments in producing original films originating
from Nigeria. It is the only multinational service considered in this context, distinguishing
itself from the predominantly national landscape of other streaming services. To emphasize
this, this paper exclusively focuses on Netflix, excluding a comprehensive analysis of all
streaming services distributing films.

Since its launch in Nigeria in 2016, Netflix has invested over 23 million dollars in the
Nollywood industry, facilitating global access to Nigerian content. Successful Netflix

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originals, including Anikulapo, King of Boys, Far From Home, Shanty Town, and Blood
Sisters, underscore the platform's significant impact.
Anikulapo, in particular, gained international acclaim, becoming Netflix's top-performing
film in Nigeria within two weeks of release. Despite its box office earnings of N12 million,
the film's massive viewership on Netflix was said to highlight a notable preference for home-
based viewing over traditional cinema experiences (Business Day Newspaper).
This study aims to explore the impact, if any, of movie streaming platforms like Netflix on
cinema attendance patterns in Nigeria within the past year. While some individuals lean
towards the convenience of home-based viewing, others continue to embrace the cinema
experience, prompting an examination of these evolving trends in the context of the Nigerian
film landscape

1.2 Statement of the Problem

The worldwide entertainment sector has seen an epochal shift in recent years as a result of
movie streaming platforms such as Netflix. There is much to be gained from countries with a
well-developed film ecosystem and a highly involved public, such as Nigeria (a country
already recognized for its general cultural tendencies). The goal of this research is to look at
the multifaceted role that Netflix has played in Nigeria over the last year, attempting to
understand how audiences have responded and what new dimensions may exist.

One of the primary catalysts for this investigation is the unprecedented surge in the popularity
of movie streaming platforms, particularly Netflix, which has become a dominant force in
shaping the entertainment preferences of audiences globally (Smith, 2021). In Nigeria, the
introduction of Netflix has presented both opportunities and challenges for the film industry,
making it imperative to understand how this platform has influenced cinema attendance
patterns (Ogunyemi, 2019). Understanding how Netflix has influenced Cinema attendance in
Nigeria is crucial for industry stakeholders, filmmakers, and policymakers who seek to adapt
to the evolving landscape.

The first dimension of this research problem revolves around changes in viewer preferences.
Netflix's extensive library of diverse content offers viewers an unprecedented array of choices
in terms of genres, languages, and cultural backgrounds (Bardoel & d'Haenens, 2017). This
abundance of options may lead to shifts in traditional preferences for cinema attendance, as
audiences can now enjoy a wide range of content from the comfort of their homes.

13
Examining these shifts in viewer preferences is essential to gauging the extent to which
Netflix has influenced the decision-making process of Nigerian audiences regarding cinema
attendance (Hyejin, 2019).
Accessibility is another crucial aspect of the problem statement. The ease with which
Nigerian audiences can access Netflix, combined with the growing prevalence of high-speed
internet connectivity in Nigeria, has facilitated a transformative shift in media consumption
habits (ITU, 2020). This research aims to scrutinize how the accessibility of movie streaming
services, particularly Netflix, may have impacted the accessibility and appeal of traditional
cinemas. The assessment of accessibility encompasses not only physical access but also
factors such as cost, convenience, and the overall viewing experience (Rosen, 2018).

Furthermore, the overarching influence of movie streaming services on the traditional cinema
experience in Nigeria is a critical facet of this research problem. The immersive nature of
cinema, with its larger-than-life new screens and communal viewing atmosphere, has been a
hallmark of the film industry (Scolari, 2018). Netflix's rise introduces a paradigm that
challenges the conventional cinematic experience. This research seeks to explore how Netflix
has influenced the perception and significance of the traditional cinema experience in the
eyes of Nigerian audiences.

This research endeavours to provide comprehensive insights into the impact of Netflix on
Cinema attendance in Nigeria, addressing changes in viewer preferences, the accessibility of
movie streaming services, and the broader influence on traditional cinema. By examining
these dimensions, this study aims to contribute valuable knowledge to the ongoing discourse
surrounding the evolving dynamics of the Nigerian entertainment landscape. As the film
industry adapts to the digital era, understanding these dynamics is essential for stakeholders
seeking to navigate this transformative terrain effectively.

In conclusion, the research problem involves a comprehensive examination of the impact of

Netflix on Cinema attendance in Nigeria over the past year. By scrutinising changes in
viewer preferences, assessing the accessibility of movie streaming services, and evaluating
the overarching influence on traditional cinema, this study aims to provide valuable insights
into the evolving dynamics of the Nigerian entertainment landscape. Understanding the
intricate relationship between movie streaming platforms and traditional cinema is
indispensable for stakeholders seeking to navigate this dynamic terrain effectively (Castillo,

14
2017). As the global entertainment industry continues to undergo transformative changes, this
research contributes to the scholarly discourse on the impact of movie streaming platforms on
traditional media consumption patterns in diverse cultural contexts.

1.3 Objectives of the Study

1. To investigate the impact of movie streaming platforms on cinema attendance in Nigeria.
2. To identify the factors influencing film consumption preferences in Nigeria.
3. To project the Future Landscape of the Movie Industry.

1.4 Research Questions

1. How has the availability and popularity of movie streaming platforms, particularly Netflix,
influenced the frequency and preferences of Cinema attendance among the population in
Nigeria in the past year?
2. What are the key factors that influence movie streaming platforms and traditional cinema
as a mode of film consumption in Nigeria?
3. How do the current trends in Cinema attendance and Netflix in the past year project the
future landscape of the movie industry in Nigeria?

1.5 Significance of the Study

This research contributes a contemporary analysis of the influence of Netflix's streaming
service on cinema attendance in Nigeria, offering valuable insights into an ever-evolving
industry. By examining recent data on cinema attendance in comparison to Netflix streaming,
the study elucidates their dynamic interaction. Understanding how the streaming platform has
influenced traditional cinema attendance is crucial for stakeholders in the entertainment
industry, including filmmakers, distributors, cinema proprietors, streaming platforms, and
film regulatory bodies, because it helps provide a roadmap that fosters mutually beneficial
relationships between cinemas and streaming services, ultimately benefiting the industry as a
whole. On a societal level, our study explores how cinemas and streaming platforms can
enhance connections with the vibrant Nigerian film industry and cultural landscape.

1.6 Scope of the Study

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This study investigates the impact of movie streaming platforms, particularly Netflix, on
Cinema attendance patterns in Nigeria. It examines the changing dynamics of consumer
behaviour, specifically focusing on the influence of movie streaming services on the
frequency of cinema attendance. By analyzing factors influencing preferences for movie
streaming versus traditional cinema experiences, the study aims to identify user adoption
patterns and understand their underlying motivations. With a focus on the Nigerian market,
the research delves into the effects of digital streaming on the cinematic landscape within this
vibrant and culturally diverse African context. Employing a mixed methodology of
quantitative (questionnaires) and qualitative (interview) data collection, the study provides a
comprehensive assessment of the relationship between Netflix and cinema attendance in
Nigeria.

1.7 Limitations and Delimitations of Study

In the course of our research, we encountered several limitations that warrant consideration in
interpreting and applying the study's findings. We had time limitations, impacting the
thorough distribution and collection of our questionnaire and getting the relevant stakeholders
for interviews. This constraint affected the sample size and generalizability of our findings.
While the study is about evaluating the effect of movie streaming platforms on cinema
attendance in Nigeria, the respondents to our questions do not give a total representation of
the effect, as not all states of the federation have cinemas based on culture and religion. This
poses a geographical bias, excluding a significant portion of the Nigerian population. This
choice may influence the broader applicability of our study's results.
The busy schedules of key stakeholders posed a challenge to securing their participation in
interviews. This limitation may introduce selection bias, potentially underrepresenting certain
perspectives. Future studies could address this by offering alternative participation methods,
such as written responses or asynchronous interviews.
Despite our efforts to improve the questionnaire's reliability and validity through careful
design and piloting, additional testing and expert feedback could boost its overall
effectiveness. Our reliance on questionnaires and interviews may also limit the depth of our
research. Future investigations could benefit from including more data sources, such as box
office figures, streaming platform data, and relevant academic research.

16
Finally, we acknowledge that the entertainment industry is constantly evolving. Findings
from a specific time period may not be applicable in the future. Given our study's inherent
limitation, it is critical to discuss the implications for ongoing trends.

1.8 Operational Definition of Terms

This research frequently uses the following terms:
Cinemas: For this study, "cinemas" refers to physical places where motion pictures are
publicly presented, including traditional movie theatres with enormous screens, auditorium
seating, and a shared viewing experience.
Netflix: In the context of this study, "Netflix" refers to a popular online streaming platform
that offers on-demand access to a diverse range of films, television series, and documentaries
via digital distribution, allowing subscribers to watch content at their leisure.
Cinema Attendance: In this study, "cinema attendance" refers to the act of physically
attending and watching a film at a typical movie theatre or cinema within the past year.
Movie Streaming Platforms: For this research, "movie streaming platforms" refer to digital
services that allow users to stream and view movies online, with a particular emphasis on
platforms such as Netflix, which provide a diverse range of film content accessible via
internet-enabled devices.
Stakeholder: In this study, a "stakeholder" refers to persons, groups, or organisations that are
directly or indirectly affected by or interested in the influence of movie streaming services on
cinema viewing in Nigeria. Stakeholders may include movie theatre owners, streaming
platform providers, filmmakers, audiences, and industry regulators.

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 CHAPTER 2
LITERATURE REVIEW

This section focuses on the review of related literature, relating to the research topic,
theoretical framework, conceptual, methodological, and empirical review.

2.1 Conceptual Review

The significant concepts explained in detail are cinema, movie streaming platforms, and
Netflix.

2.2.1 CINEMA
Olubomehin (2012) described cinema as a service and a business that involves cinemas
providing a variety of entertaining films to the public. It does not involve the art of
filmmaking. Cinema houses were established to exhibit and show films to the public for a fee
and to be profitable. Cinema in Nigeria can be traced back to the pre-colonial era.
Historically, the actual formal development of the industry began with the establishment of
the colonial film unit for producing propaganda newsreels. Cinema was first introduced as a
peephole viewing of motion devices in the late 19th century and as a motion picture in the
20th century. Cinema was entertainment and a means of education and social relaxation
before the advent of television in Nigeria, especially in Lagos. The first cinema display was
in 1903 on August 12 at the Glover Hall Memorial Center Adegoke (2012).

According to Olubomehin (2012) the commercialization and formal operation of cinema

operations in colonial Lagos theatres were established with explicit approval from the
colonial government starting in 1937 (Olubomehin 2012). The West African Pictures
Company, owned by Mr. S. Khalil, played a pioneering role by securing the rights to use
Glover Hall in Lagos for cinematographic shows. Subsequently, Rex Cinema, Ebute Metta,
Regal Cinema, and Royal Cinema emerged in the late 1930s and early 1940s. The Capitol
Cinema also made its mark during this period, establishing the first cinematic connections
associated with British colonialists and southern Christian Nigerians. By 1960, after post-
colonial rule, the cinema landscape had opened up to indigenous local groups for the
inclusion of Nigerian content and the expansion of cinemas in Nigeria.

18
The 1960s and 1970s saw a transformation in Nigerian theatre groups as they began to
incorporate more modern themes and techniques into their plays This period saw the
emergence of notable theatre groups such as the Ogunde Theater Group, which focused on
promoting Nigerian culture and addressing social issues through their performances. From
the 1970s to the 1990s, it was the big screen using celluloid. Nigerian cinema experienced a
boom in the 1980s. Olubomehin, in his “Cinema Business in Lagos since 1903,” explains the
growth of the cinema industry in its golden era. The expansion of the industry by the military
government encouraged local content and invested in activities to boost entertainment.
The indigenous decree of the military government added to the boom in cinemas. Nigeria had
300 theatre houses. The economic recession of the 1980s led to the demise of celluloid
filmmaking and the emergence of video production, which offered a low-cost and popular
alternative to satisfy the entertainment needs of Nigerians. (Lani Akande, 2021).

Furthermore, as television stations have been established in Lagos and Ogun State, people
can now watch some films in the comfort of their own homes. The rise and development of
the Nollywood sector was a contributing factor in the decline of movie theatres. The demise
of theatres by the late 1990s was partly attributable to the expansion of digital satellite
subscription networks like Multichoice's DSTV. In addition, home video sales, which had
grown from VHS to CD and then DVD, took off, and Nollywood continued to flourish.
Nigerian movie channel launched on digital television Ten more years will pass before
cinematic culture emerges again.

In 2004, Silver Bird Cinemas was established, with the first one in Victoria Island, Lagos,
and subsequently in other major cities in southwest Nigeria and Abuja. The Silverbird
cinemas were multiplex. According to Nwachukwu (2018), a multiplex cinema is a film
theatre that houses more than three screens within the same building. It is a large-scale
cinema facility that consists of multiple cinema halls where different films are screened
simultaneously and continuously for various audiences. These multiplex theatres are
purposefully created to satisfy the demands of all parties involved, resulting in well-planned,
well-built, well-furnished, and well-run businesses. Although megaplexes may have even
more, they typically have about 16 movie screens. Multiplex cinemas utilise modern film
technologies and offer amenities such as refreshments, relaxation areas, and convenience for
their audiences.

19
It would not take long before Genesis Deluxe Cinema and Ozone Cinema were launched,
creating competition in the cinema business. The New Nigerian Cinema emerged. The main
event that holds the distinction of Kunle Afolayan’s Yoruba language film Irapada (2006),
the first new wave film to be released in theatres, took place at the Silverbird Galleria in
Lagos. The success of the cinemas continued to grow as the years went by. The technological
advancement and quality of production increased as the cinemas expanded. The 2010s
witnessed the arrival of more cinemas. Film house cinemas, Viva Cinema, and G-Media.

The film industry has seen a significant change as a result of the New Nigerian Cinema era. It
sets itself apart from previous video films and is a significant contribution to the industry
with its superior production values, complex storytelling, and sophisticated aesthetics. This
era has witnessed the release of numerous films that have garnered both critical acclaim and
commercial success. Notably, The Wedding Party (2016) stands out as the highest-grossing
Nigerian film to date, earning over ₦450 million at the box office. Today, Nigeria has 77
cinemas and 214 screens, and it is still growing. However, the cinema had its challenges.
It is important to note that the digitalization and technological advancements that hit the
communication industry and broadcast media have an impact on the creative industry, just
like the advent of home videos and television in the 1980s, amongst other factors. One would
wonder if the advent of movie streaming will have the same impact on the age of cinemas as
it did in the golden age.

2.2.2 MOVIE STREAMING PLATFORM

Movie streaming platforms are online services that focus on providing users with access to a
wide range of movies online. This collection offers the largest library of films, including new
releases, classics, and independent and international films. Users can browse available titles,
find specific movies, and stream them directly to their devices without the need for physical
media or downloads. Movie streaming usually involves ordering or offering options for
renting or buying individual movies. They also offer features such as personalised
recommendations, user templates, and the ability to run search algorithms. Some popular
examples of streaming movies include Netflix, Amazon Prime Video, Showmax, Hulu,
Disney+, and HBO Max. The service gives you the flexibility to watch movies on any device
of your choice, as long as you have internet access and a subscription to the platform. Digital
smart devices like smartphones, tablets, PCs, and smart TVs allow you to access it.

20
Jason Njoku founded Iroko TV, Nigeria's first streaming platform, in 2014. Following suit
were IbakaTV and Afrinolly TV. However, Iroko TV launched in 2014 as a subscription-
based platform with local movies only. It had a rapid growth rate, which earned it the
nickname “Netflix of Africa.”. Iroko TV investors were said to have made 3000% investment
returns and raised $USD 300 million for 300 hours of content in Nigeria.
In 2016, the global streaming giant Netflix entered the Nigerian market, and Amazon Prime
Video followed suit with MultiChoice Showmax, making this industry highly competitive.
The major streaming platforms in Nigeria are Netflix, Prime Video, and Showmax. Movie
streaming platforms became a thing in 2016 as certain developments happened in the
Telecommunication and creative industry.

Nigeria's movie industry has witnessed a significant change in technological advancement

and an increase in technological know-how in the creative industry. Since the emergence of
cinemas in 2004 and the premiere of the first Nigerian movie to grace cinemas, Irapada, as
produced by Kunle Afolayan, has raised the bar in filmmaking. The industry has seen many
more movies of international standards go to the cinema. As expertise and technology
increase, Nollywood has increased the number and quality of movies produced for both local
and international markets. Movie streaming platforms have opened up access to the
international market by helping in the promotion and distribution of Nollywood content and
also investing in original production. As a result, filmmakers now have more revenue to
produce more films, and the industry's welfare and well-being are improving.

Technology is what drives the movie streaming platform, and the Nigerian communication
landscape has had tremendous technological advancement. The quality of the internet
network, speed, affordability, and accessibility available to Nigerians have allowed them to
access streaming platforms, hence embracing them.
Moreover, the movie platform in the Nigerian market offers viewers friendly options, easy
payment using naira, offline viewing, and data-saving options. In addition, the availability of
multiple platforms has led to healthy competition and lower prices for consumers. Movie
streaming platforms have been able to distinguish themselves by offering exclusive content
and partnerships that enhance quality performance. According to the Statista Market Sight
Report 2023, a market analysis and reporting website, video streaming platforms in Nigeria
are expected to experience growth over the next few years. The year 2023 witnessed 23.4%
growth and revenue of US$0.78 billion. An estimated annual growth rate of 10.76% (CAGR

21
2023–2028) with a forecast market volume of US1.30 billion by 2028. If further stated, the
movie platforms are expected to reach 55.9 million users by 2028. Looking at the Nigerian
population and user rate penetration, a projected increase of 17.3% in 2023 is expected to
increase to 22.3% by 2028.

In conclusion, by all indications, the industry is expected to witness substantial growth in the
coming years. There is also an exponential growth in local content production, catering to the
diverse cultural preferences of the Nigerian population. The movie streaming platforms have
come to stay in Nigeria. It has become an important part of the Nigerian entertainment
industry and culture.

2.2.3 NETFLIX
In Samuel Andrew’s article on Netflix in naija,88iiiii8 he describes Netflix as the world's
leading global movie streaming platform. Andrews (n.d.) Netflix's website describes itself as
one of the leading global streaming platforms that offers a wide range of movies, TV shows,
documentaries, and original content. It has received a great deal of attention and popularity
due to its extensive library and ease of use. It operates on subscriber-only services, with
different packages based on location. Netflix offers users the ability to stream content across
devices and offers personalised recommendations based on viewing history.
To keep up as the global leader in streaming services, Netflix frequently updates its library,
adding new features and removing older titles.

According to Ogunjuyigbe (2023), four years after entering the Sub- Saharan African market,
Netflix officially entered the Nigerian market in 2020. Though it has been in the country
since 2016, offering a few Nigerian content such as Lion Heart and King of Boys. It wasn’t
fully vested until 2020. She went further to say Netflix has become a major player in the
streaming industry, providing subscribers with a convenient and varied entertainment
experience. As a fully invested organisation in the Nigerian movie market with an
established office in Nigeria, Netflix has initiated substantial investments in producing
original films originating from Nigeria. It is the only multinational service considered in this
context, distinguishing itself from the predominantly national landscape of other streaming
services.

22
Netflix has four subscription models to capture the Nigerian market, ranging from as low as
1,200 naira for basic to 4,400 naira for premium. Andrew (2023) opined that Netflix coming
to Nigeria is a win, but not yet because the copyright laws being used are for the US and
more needs to be done to protect Nigerian creatives. Andrew (n.d)
To emphasise this, this paper exclusively focuses on Netflix, excluding a comprehensive
analysis of all streaming services distributing Nollywood films. Netflix maintains a
substantial impact on the Nigerian entertainment industry, prompting scholars to actively
examine its strategies for effectively reaching African audiences. The Nigerian film industry
cannot afford to overlook the Netflix video streaming platform, considering Nollywood’s
global relevance and the benefits it portends for the nation.

2.2 Theoretical Framework

Theories serve as invaluable tools for comprehending and managing complex realities.
According to Okorie, (2023), a good theory possesses the power to illuminate the past,
interpret the present, anticipate future developments, and offer viable solutions to pressing
societal challenges. The German – American Psychologist, Kurt Lewin, one of the founding
fathers of social psychology (1963) underscored the role of theory as a means of explaining
the structure and occurrence of various phenomena. The Nigerian film industry, popularly
known as Nollywood, despite its global recognition, grapples with its inherent complexities
and potential challenges including the advent of streaming platforms like Netflix. By
leveraging appropriate theoretical frameworks, researchers can equip themselves with the
necessary tools to analyse and address these issues effectively.

Among the various perspectives within the realm of Mass communication, three stand out as
particularly relevant to the investigation of the impact of Netflix's video streaming service on
cinema viewership in Nigeria. These are the uses and gratifications theory, the technological
determinism theory, and the media convergence theory. Each offers distinct analytical lenses
through which to examine the phenomenon under study, providing valuable insights for
understanding the changing dynamics of movie consumption in the Nigerian context.

2.2.1. Uses and Gratifications Theory

The Uses and Gratifications (U&G) theory, pioneered by researchers Jay G. Blumler and
Elihu Katz in 1964, stands as one of the most influential and widely adopted frameworks
within audience studies. Its enduring popularity stems from its ability to offer a nuanced and

23
user-centric explanation for individuals' media consumption choices and the inherent
gratifications they derive from media engagement. In contrast to passive audience models, U
& G theory posits that individuals actively select and utilise media to fulfil specific needs and
desires. (Ndubuisi, 2011). This core tenet rests on two fundamental principles:
Active choice and Goal-oriented behaviour: The U&G theory challenges the notion of
passive audience consumption. Instead, it emphasises media users as active agents who
deliberately select and utilise media to achieve specific goals. This implies that media choices
are not random or impulsive but rather driven by an understanding of one's own motivations
and needs.

Fulfilment of Needs and Gratifications: Media consumption, according to U&G, is

motivated by the desire to fulfil specific needs and desires. Such needs as entertainment,
social interaction, information and personal identity reinforcement are taken into due
consideration. (Liu, 2019). U&G is most fitting to analyse users’ motives for choosing
Netflix over Cinema attendance. The Uses and Gratifications (U&G) approach has not been
without criticisms. Some scholars have questioned its explanatory power and criticised its
potential for subjective interpretations. However, despite these challenges, the U&G
perspective remains a significant force within the field of mass communication research.
Nwachukwu (2022) further underscores the U&G theory's distinct contribution, highlighting
its central tenet that media consumption is not a passive or impulsive act. Instead, the theory
emphasises the intentional decision-making process involved in media selection. Nwachukwu
argues that individuals carefully consider and strategize their media choices, actively seeking
out content that aligns with their specific needs and motivations. This key insight underscores
the agency and active role that audience members play in the complex landscape of media
consumption. Thus, the Users and Gratifications Theory is considered the most
comprehensive and indispensable in measuring future directions. (Ruggiero, 2000)

The "Impact of Netflix Streaming Service on Cinema attendance in Nigeria" can be better
understood by applying the Uses and Gratifications Theory (U&G). As already established,
this theory emphasises audience motivations and how they make decisions between
traditional cinema and online streaming platforms. According to this theory, people actively
seek to satisfy their needs and desires through media content and are active participants in the
consumption process. When it comes to the Nigerian cinema landscape, the U&G theory

24
helps researchers understand why audiences choose Netflix over traditional cinemas and vice
versa.

Aligned with U&G principles, Nwachukwu (2022) emphasises the presence of specific
expectations among cinema viewers. Audiences anticipate being captivated by the immersive
experience offered by the cinematic environment. He further highlights the existence of
distinct content preferences, encompassing aspects such as storyline, moral messages
conveyed, and acting quality. The unfolding narrative and the suspense it generates
throughout the film play significant roles in audience engagement. The tendency of
respondents to pre-select and focus on specific aspects of a movie during their viewing
experience further aligns their behaviour with the postulates of U&G theory. After several
theoretical and conceptual developments in the past few years, the Uses and Gratification
Theory continues to gain more prominence. Specifically, the rapid development of
telecommunications technology, the advent of the Internet, and the convergence of forms
have made the Uses and Gratification Theory more relevant. It is in fact the most
comprehensive and indispensable theory in measuring the future directions. (Ruggiero,
2000).

Communication scholars hold the view that use and gratification work on five assumptions:
i. Focused media use: film users are guided by their motivations
ii. People use media with specific
purposes in mind. They select media content, expecting it to fulfil particular needs and
preferences.
iii. Influence of Social and Psychological Factors: Media's impact on behaviour is shaped by
individual personalities and social surroundings. How people choose media and interpret its
messages is influenced by their social context and personal traits.
iv. Media competition for attention: Media competes with other forms of communication for
an individual's attention. For instance, someone might prefer having a face-to-face
conversation rather than watching a documentary on a topic.
v. Individual control over media: People usually maintain control over their media usage and
are not greatly swayed or influenced by it.
The Media may offer gratifications such as relaxation, entertainment, escape, knowledge,
companionship, and social interaction, it also leaves the consumer influenced, affected, or
even addicted. (McQuail, 2010)

25
Ajaegbu et al. (2022) observed a growing trend of audience migration, particularly among
Millennials, from traditional media towards over-the-top (OTT) services. This shift in
preference can be attributed to several factors, including content availability, accessibility,
enhanced delivery methods, the possibility of binge-watching, and overall customer
satisfaction. By employing the lens of the Uses and Gratifications Theory, this research
delves into the conscious choices and underlying motivations driving audience behaviour
towards Netflix streaming and Cinema attendance. This theoretical framework enables a
nuanced understanding of the distinct needs fulfilled by both traditional cinemas and Netflix,
thus enriching the analysis of evolving viewing patterns within the Nigerian media landscape.

2.2.2 Technological Determinism Theory

Technological determinism is a reductionist theory that presumes that a society's technology
drives the development of its social structure and cultural values. The term is believed to have
been coined by Thorstein emotionVeblen (1857–1929), an American sociologist.
Technological determinism posits that media technologies exert a profound influence on
individual and societal thought, action, and evolution across different technological eras. As
Marshall McLuhan famously stated, technological advancements act as primary drivers of
social and cultural change. In his seminal work, Understanding Media: The Extensions of
Man (1964), McLuhan further argues that new electronic media, such as television and
computers, are not mere extensions of specific body parts but rather of the central nervous
system itself. Examining this lens through the specific context of cinema reveals how
technological innovations like sound, colour, digital effects, and streaming platforms have
significantly impacted the trajectory of filmmaking and audience experiences. The
Technological Determinism framework is another lens through which our study explores the
profound influence of technology on societal behaviours. According to John (2020), this
theory has been employed in understanding how certain laws change, become moribund, or
become even more relevant and effective.

Specifically, in the context of the Nigerian cinema landscape, this framework allows an in-
depth examination of how the introduction and rapid adoption of Netflix as a digital
streaming platform have transformed traditional Cinema attendance habits. It enables a
nuanced analysis of how this technological shift has influenced audience preferences, altered
viewing behaviours, and redefined the cultural significance of cinemas within Nigeria's
entertainment sphere. Sanusi (2022) noted that streaming services, with their on-demand

26
content and personalised viewing experiences, have led to a shift in how people consume
television content. By applying the Technological Determinism framework, this research
gains valuable insights into the availability, accessibility, and convenience of Netflix
streaming services that might have reshaped audience behaviour, affecting their choices
between cinema attendance and watching movies through streaming services at home.
Therefore, technological determinism provides a framework to comprehend how
technological progress, exemplified by Netflix, has influenced and potentially transformed
Cinema attendance experience in Nigeria

John (2023) juxtaposed the opinions and concluded that the creative industry will survive if
the erroneous view that the internet/OTT has rendered pay TV irrelevant is instead
embraced as a call for a change of strategy. As a matter of fact, nothing stops Nollywood
from plunging into the online streaming of her products. Understanding the rise of Netflix
and its subsequent influence on cinema viewership in Nigeria last year benefits from
employing the lens of technological determinism. This theoretical framework posits that
advancements in media technology significantly shape how individuals and societies think,
act, and engage with cultural experiences. While not suggesting technology operates in a
vacuum, it recognizes its powerful role in shaping the landscape of cultural consumption.
Applying this perspective to Netflix in Nigeria in the year 2022 reveals several key
justifications:

1. Disruptive Innovation and Shifting Consumption Patterns: Netflix's entry into the
Nigerian market in 2016 marked a disruptive innovation. Its on-demand streaming model,
vast library of international and local content, and accessibility through mobile devices
offered a stark contrast to traditional cinema experiences. This convenience and diversity
significantly altered consumption patterns, drawing viewers away from physical cinemas and
towards the comfort of their homes.
2. Redefining Cinema: Content, Production, and Distribution: Netflix's influence extends
beyond simply providing an alternative viewing platform. Its global reach and targeted
content creation have pushed the boundaries of Nigerian cinema. Local productions like
King of Boys: The Return of the King and Òlòtūré gained international recognition through it
is Netflix, showcasing Nigerian talent and stories to a wider audience. This exposure also
influences production values and storytelling approaches, potentially shaping the future of
Nigerian filmmaking.

27
While acknowledging the role of social, economic, and cultural factors in shaping media
consumption, technological determinism provides a valuable framework for analysing the
transformative impact of Netflix in Nigeria. Its disruptive innovation and influence on
content creation and distribution highlight the undeniable role technology plays in reshaping
cultural landscapes, making it a relevant and insightful lens for examining this specific
phenomenon.

2.2.3 The Cultural and Media Convergence Theory

Cultural and Media Convergence theory explores the merging of various media forms,
including cinema, television, and the internet. It examines how these convergences have
affected storytelling, audience engagement, and the distribution of films. Iordace et al (2022)
refer to the transnational collaborations and practices in the cross-border production and
distribution of audio-visual content, media ownership, regulation, and audience reception. His
findings apply to Nollywood whose movies are watched on Netflix globally. Technology has
made the combination of forms, channels, etc and this is a boost on the revenue.
Notwithstanding, there is also the question of rights retention and premium content offerings
through the increase of big-budget commissions.

The cultural and media convergence theory, in the case of Netflix and Cinema attendance,
reveals valuable insights into how different forms of media interact and merge. This theory
delves into how cinema, television, and the internet blend, influencing storytelling, audience
engagement, and content distribution. In the case of Netflix's influence on Nigerian cinema,
this theory helps us understand the changing behaviours and preferences of audiences. It also
highlights the changing landscape where traditional cinema experiences intertwine with
online streaming platforms. The cultural and media convergence theory paves the way to
reach global audiences with Nigerian content, fostering cultural exchange and shaping
storytelling methods within the Nigerian film industry.

In essence, the cultural and media convergence theory lends credence to the symbiotic
relationship between Netflix's digital platform and the traditional cinematic landscape in
Nigeria. If well harnessed, the blend of culture and media will further enrich the Nigerian
film industry which already occupies a pride of place as the world’s second largest and
Africa’s leading film industry. The cultural and media convergence theory is highly relevant

28
in analysing the impact of Netflix streaming service on Cinema attendance in Nigeria in
2022. Here's how it applies:
1. Blurring Boundaries and Creating Hybrid Spaces: Convergence theory contends that
different media forms are increasingly merging, creating new hybrid spaces of consumption.
In Nigeria, Netflix exemplifies this. While traditionally cinema was the primary space for
film viewership, Netflix offers a converged experience merging cinema with television,
mobile technologies, and even social media. Users watch cinematic content on phones,
engage in online discussions, and potentially discover similar shows through algorithmic
recommendations – all within the Netflix platform. This blurs the boundaries between
traditional media categories and creates a new, interconnected space for consuming film
content.
2. Local and Global Content Convergence: Convergence also facilitates the circulation of
both local and global content. On one hand, Netflix provides a platform for Nigerian films to
reach a broader international audience, as seen with "King of Boys: The Return of the King"
and "Òlòtūré." This promotes the internationalisation of Nigerian cinema and fosters cultural
exchange. On the other hand, viewers in Nigeria gain access to a vast library of international
content, exposing them to diverse stories and potentially influencing local filmmaking styles
and narratives. This convergence of local and global content creates a dynamic interplay that
reshapes both Nigerian film production and consumption.
3. Shifting Power Dynamics and Audience Agency: Convergence theory highlights the
shifting power dynamics in the media landscape. Netflix's entry disrupts traditional cinema's
dominance by offering viewers greater control over their viewing experience. They can
choose what to watch, when to watch it, and on what device, challenging the cinematic
experience's predetermined schedule and venue. This empowers audiences and potentially
alters their relationship with film consumption.
4. Emergence of New Cultural Practices: Convergence fosters the emergence of new
cultural practices surrounding media consumption. In Nigeria, the past Netflix has
contributed to the growth of online viewing communities, fan groups, and even memes
centred around its content. During the period in view, there was a growing shared viewing
experience and new forms of social interaction around film, further transforming the cultural
landscape.
5. Challenges and Limitations: While convergence offers undeniable opportunities, it also
presents challenges. Concerns arise regarding the potential homogenization of content due to
Netflix's algorithmic recommendations and its dominance in the streaming market.

29
Additionally, limited internet access and data affordability in parts of Nigeria create unequal
access to this converged media space. By applying the cultural and media convergence
theory, we gain a nuanced understanding of Netflix's impact on Cinema attendance in
Nigeria. It moves beyond a simple displacement of cinema by highlighting the interconnected
and mutually influencing nature of these media forms, the changing power dynamics, and the
emergence of new cultural practices around film consumption. However, we must also
acknowledge the limitations and potential negative consequences of convergence in this
context.

The streaming culture in Nigeria is evolving beyond conventional norms. Ogamba, 2024
projected that this year, streaming platforms will not only serve as content repositories but
will also become immersive entertainment ecosystems. AI-driven content recommendations
will tailor user experiences, ensuring that subscribers are exposed to a curated selection that
aligns with their preferences. Netflix, with its commitment to consistently telling the African
story, has become a game-changer. These platforms are not only elevating local content but
also contributing significantly to Nigeria’s global cultural footprint.

2.3 Empirical Literature Review

While there is no direct research on the impact of movie streaming platforms on Cinema
attendance in Nigeria, this empirical literature review draws on the most relevant studies.

Kaur and Ashfaq (2023) researched the impact of Netflix on viewer behaviour and media
consumption, they interviewed about 260 participants to find out how often they used Netflix
and how Netflix influenced their entertainment habits, their research suggested that some
individuals either lost interest in the platform or shifted their viewing habits to alternative
entertainment sources. However, it's crucial to acknowledge the potential diversification of
interests beyond film-related content. Regarding the impact on personal entertainment habits,
their results showed that about 35.1% of people believed Netflix influenced them to watch
more TV shows and movies, while 33.6% perceived a reduction in TV and movie
consumption. Additionally, 27.4% felt that Netflix had no discernible impact on their
entertainment habits. All of these do not point specifically to whether Netflix has a positive or
negative impact on consumer behaviour and entertainment choices as the results do not tilt
toward a clear end.

30
Another research that explored consumer behaviour as it relates to film consumption was
Agina's (2020) study, she conducted a comprehensive literature review on audience
behavioural patterns, examining a study by Obiaya (2012) that delved into how the internet
has transformed audience engagement with a popular and cultural art form. Obiaya utilised
ethnographic methods, focusing on an online forum dedicated to Nollywood films, where
members actively participated in discussions, providing a unique insight into their
perspectives. Agina (2020) captured audience experiences and selected five respondents for
in-depth insights. Additionally, Angina also interviewed filmmakers, online distribution
platform owners, and technology companies. Agina's findings, based on a sample of
respondents, revealed that in 2018, 77% of participants, primarily women aged 26–45,
employed, and holding a first degree, relied heavily on YouTube (66.2%) for watching
Nollywood films. However, in 2020, among 368 participants with a similar socio-economic
background, Netflix gained prominence, with 66.8% preferring it, while YouTube slightly
trailed at 41.7%, and iROKOtv lagged at 10.1%. The study inferred that Netflix's expanding
influence posed a challenge to iROKOtv's dominance, emphasising the platforms' appeal to
different social classes. The conclusion foresaw an evolving on-demand culture in Nigeria,
shaped by diverse audience preferences (Agina, 2020).

Another core study was Johansson (2020), he conducted a research he titled "Success at the
Box Office in the Age of Streaming Services," with an emphasis on Netflix, which boasted
approximately 158 million subscribers globally at the time (Statista, 2023 reports the current
count at about 201 million). The study's focal point was to investigate the substantial impact
of streaming services on the cinema-released movie market. Using cross-sectional data from
two distinct eras pre and post-Netflix's substantial subscriber increase Johansson employed
"Box Office Mojo" data, encompassing comprehensive box office information from various
sources. Employing correlation analysis, he scrutinized the correlation between Netflix
subscribers and the total number of tickets sold at the domestic box office.
Comparing models analyzing movies before and after Netflix's subscriber surge, Johansson
aimed to illustrate shifts in the dynamics of successful cinema-released films.
The relationship between the change in Netflix subscribers and total ticket sales displayed a
negative correlation (-0.44), indicating a relatively strong negative association, while a slight
positive correlation (0.21) was noted between a change in tickets sold and Netflix
subscribers, it was considered negligible.

31
The study also identified a robust negative correlation (-0.63) between ticket sales and the
average price, with little to no correlation between the change in price and ticket sales.
Positive correlations were observed between unemployment metrics and ticket sales, while a
strong negative correlation (-0.91) was evident between the unemployment rate and Netflix
subscribers. The change in Netflix subscribers correlated negatively with the change in the
unemployment rate, albeit less strongly (-0.39). Although the average ticket price
demonstrated a substantial positive correlation (0.96) with Netflix subscribers, the detrended
average ticket price displayed a minimal correlation (-0.07). Aligning with previous research
(Parlow & Wagner, 2018; Pardo, 2012), Johansson's findings supported the notion of Netflix
exerting a negative influence on cinema ticket sales. The central takeaway from Johansson's
correlation matrix indicated a negative relationship between ticket sales and Netflix
subscribers from 2007 to 2018, suggesting a noteworthy but not necessarily causal
connection.

2.4 Methodological Literature Review

Kaur and Ashfaq (2023) adopted a variety of research approaches. People who use Netflix
were asked to fill out a questionnaire about the impact it has on how they use media services
and behave in general. This strategy was used to gather information about how Netflix
members utilize the service, their preferred content, and how streaming services are affecting
traditional media consumption habits. We received 300 responses from people of various
ages and backgrounds. This allowed us to gather a variety of perspectives on how Netflix
influences things. For numbers, we used a Google form. 300 participants completed the
questionnaire, which had only yes or no answers. A random selection strategy was used for
this study. The test was designed to gather information about how frequently users used
Netflix, what kind of content they watched, and what actions they took. The study also
addressed old media habits such as watching TV and going to the cinema. It did this to learn
how Netflix is altering how consumers consume traditional media. The responses were
examined for patterns and trends in the audience's preferences and activities. This study
discusses what was discovered from survey responses. It explains how Netflix has influenced
users' actions and how they watch TV series or movies.

Agina (2020) The focus of this literature is an in-depth discussion on the audience behavioral
patterns, primarily addressing Obiaya’s (2012) research on the effect of internet use by
people to interact with a particular category. Obiaya employed ethnographic methodologies

32
to focus on an online forum specializing in Nollywood films, which provided distinctive
characteristics of the participants' perspectives. The study used a mixed-methodologies
methodology, combining qualitative and quantitative methods such as two internet surveys to
capture the audience experience and detailed accounts from five selected respondents.
Interviews were also done with filmmakers, the proprietors of several internet distribution
platforms, and representatives from numerous technology companies. The snowball sampling
makes it very simple to enroll volunteers. An analysis of the findings from a respondent
sample differentiated by 26-45 years, females employed, and primarily holding first degrees
heavily relied on YouTube (66.2%) for Nollywood film consumption in the year 2018,
accounting for 77%. Nonetheless, Netflix gained prominence in 2020 within the same
socioeconomic segment of the population, involving a total of 368 participants, with 66.8%
stating that they prefer it. YouTube came in second at 41.7%, followed by iROKOtv at
10.1%. The study found that Netflix's growing power posed a challenge to iROKOtv's
dominance, with a focus on how preferred platform selection varied among social categories.
The report expected a growing on-demand culture in Nigeria, with diverse audience
preferences.

Johansson (2020) entitled “Success at the Box Office in the Age of Streaming Services”
considers Netflix, a platform that has approximately 158 million subscribers. The study
investigates the changing movie industry in the digital era, focusing on links to an increase in
cinematographic releases and a surge in subscribers to streaming services, primarily
emphasizing the large streamliner influence on films available in theaters worldwide (as for
mid-year statistics), which now makes about 201 million individuals. The study analyzed
cross-sectional data from pre- and post-Netflix membership increases from the "Box Office
Mojo" database, which includes all box office statistics. The correlation analysis was utilized
to investigate the association between Netflix subscribers and ticket sales at the home box
office. To this goal, a 'time series model' was employed to generate the Correlation Matrix,
which suggests that between 2007 and 2019, Netflix users had an impact on ticket sales.
The study tried to highlight the differences in successful cinema-released films by comparing
and assessing models before and after Netflix's subscriber growth. The variables in the
control study remained constant to ensure proper comparability. The data showed a negative
association between Netflix subscribers and ticket sales of -0.56, which was statistically
significant in terms of the compensation purchase price (-0.44). Because a low positive
correlation (0.21) was found between an increase in ticket sales and Netflix users, this link

33
can be deemed inconsequential. The analysis discovered a strong inverse association (-0.63)
between ticket sales and the average price, as well as a low correlation of price changes from
one season to the next, indicating that ticket sales performance does not correspond well
under this combined metric. There were numerous positive connections between
unemployment indicators and ticket sales, but a substantial negative correlation (-0.91) was
observed between the unemployment rate and Netflix users. The number of Netflix members
moved inversely with the unemployment rate, however not significantly (-0.39). Because the
average ticket price displayed a substantial positive correlation (0.96) with Netflix members,
yet provided such a comparatively moderate non-correlation (- 0. e -7), detrended numbers
are sufficient. According to prior research (Parlow & Wagner, 2018; Pardo, 2012),
Johansson's findings corroborate the concept that Netflix has had a detrimental impact on
cinematic box office revenues. The primary conclusion of Johansson's correlation matrix is a
negative relationship between ticket sales and Netflix users between 2007 and 2018,
indicating that there was a significant connection, although noncausal.

2.5 Summary of Literature

The literature review focused on essential variables and their context in the Nigerian film
industry. Cinemas and Netflix were characterized as technologies employed by Nigerian
filmmakers to distribute and exhibit films to audiences. The backdrop of film distribution and
exhibition in Nigeria highlights the increasing popularity of movie streaming platforms,
which has an impact on cinemas.
The theoretical perspective of this research on the Uses and Gratification Theory provides a
core framework for investigating how people actively choose and use media to meet their
distinct wants and desires. This theory directs the inquiry into Nigerian viewers' motivations
and preferences for movie consumption, shedding insight into the gratifications sought
through Cinema attendance and streaming on sites such as Netflix. The Technological
determinism Theory is used to investigate the broader impact of technology breakthroughs,
particularly the rise of movie streaming services, on societal changes and cultural behaviors.
The paper examines how technological advances, such as Netflix's accessibility, have
impacted and may transform Nigeria's traditional movie landscape. Cultural and Media
Convergence Theory provides a prism through which to examine the convergence of media
forms and technology. It investigates how the convergence of cinema and streaming
platforms influences audience behavior, preferences, and the broader entertainment

34
ecosystem in Nigeria. The idea helps to explain the connections and interactions between
traditional cinema and emerging streaming platforms.
The empirical and methodological evidence provided in this research proves that there is a
change in the movie industry in the digital era. It demonstrates that Netflix has an impact on
how people consume traditional media. The empirical and methodological review lacks solid
Nigerian-specific evidence on Cinema attendance and Netflix because no such research
exists; consequently, the empirical approach of this current study will cover this research
vacuum.

CHAPTER THREE

METHODOLOGY

3.1 Introduction
This chapter describes the research method utilized in this study to analyze how movie
streaming platforms have impacted cinema attendance patterns, with a focus on Netflix's
impact in the previous year. This research aims to understand the dynamics between
streaming services and traditional cinema attendance within these major cities. The study
employs a mixed research methodology that incorporates quantitative approaches such as in-
depth interviews and qualitative data collecting via questionnaires.
These mixed approaches aim to present a more nuanced picture of the evolving dynamics
between movie streaming platforms and traditional cinematic experiences, while also
providing relevant data on Nigerian viewing behavior. The dual nature of quantitative and
qualitative data triangulation increases the validity of research findings and allows for more
in-depth study analysis.

3.2 Research Design

A research design serves as the overarching plan or structure that guides the process of
conducting a research study. There are various types of research designs, including cross-
sectional, descriptive, longitudinal, experimental, exploratory, correlational, and case-study

35
designs. For this specific research, the descriptive and exploratory designs were adopted.
Exploratory design focuses on the discovery and the gathering or development of theories
(Jupp, 2006). It is a form of investigation into a phenomenon or behavior, aimed at generating
ideas and insights. On the other hand, a descriptive research design is a methodology that
aims to describe and explain the characteristics, behaviors, or phenomena of a specific
subject or population (Skidmore, 2022). These research designs were well-suited for
examining the impact of movie streaming platforms on Cinema attendance. The exploratory
design allowed for the identification of factors that affect cinema attendance and movie
streaming platform viewership. Meanwhile, the descriptive design facilitated the thorough
description of qualitative data obtained from Cinema viewers and Netflix subscribers.

36
3.3 Research Method
Research methods encompass the distinct techniques, tools, and procedures used to gather
and analyze data in a research study. These methods offer a systematic approach to address
research questions or objectives and generate reliable and valid findings. Two primary
research methods are commonly employed: quantitative and qualitative methods. In this
research, a mixed method approach was adopted, involving the collection and analysis of
both qualitative and quantitative data. This comprehensive approach aimed to gain a deeper
understanding of the impact of Movie streaming platforms on Cinema attendance, with a
specific focus on the case study of Netflix. The qualitative data was collected through key
informant interviews with the General manager of Film House Cinema while the quantitative
data was surveys administered to Netflix users and Cinema Viewers.

3.4. Rationale for Methods Chosen

The use of a mixed-methods approach, combining qualitative in-depth interviews and
quantitative questionnaires, for the study "Evaluating the Impact of Movie Streaming
Platforms on Cinema Attendance in Nigeria in the Past Year: "A Case Study of Netflix”
allows us to gain a thorough understanding of how this rapidly changing media world
operates.
Long interviews and qualitative methodologies were chosen to investigate how individuals
feel, think, and see things in Nigeria's film and streaming industries. The study interviews key
figures such as filmmakers, cinema owners, and industry experts. This aids in gaining deeper
insights that numbers alone may miss. We employ qualitative approaches because we need to
examine if Netflix and other video streaming services have an impact on cinema attendance.
This includes investigating what people like now, difficulties in the film industry, and new
opportunities that have arisen as a result of these developments. On the other hand, applying
numerical methods is critical. This can be done with a designed question paper to gather
information about larger groups and reveal patterns in the lives of more people. The project
intends to distribute questionnaires to a group of people who view movies in cinemas and
utilize Netflix. This is done to ascertain the extent to which Netflix affects Cinema attendance
and to see whether there are any clear links between them and viewing habits or decisions.
This research strategy was chosen to make the findings useful to a larger number of people. It
aids with the detection of large patterns and likes that contribute to a better comprehension of
a situation.

37
Using both methods of study is effective as it eliminates the weakness that comes with using
one method as each method will compensate for the weakness of another. It aids in ensuring
that the study is correct and full by employing various ways. The study can provide a
complete picture of how individuals in Nigeria view movies on streaming platforms by
combining deep knowledge from qualitative investigations with figures.
The mixed-methods technique aids in investigating potential disparities or agreements
between people's feelings and larger population patterns. Qualitative interviews, for example,
can highlight individual tales about how Netflix transformed the way we watch shows.
Quantitative data, on the other hand, could provide figures to help grasp these shifts more
clearly. We can find out if these experiences result in larger societal changes.

3.4 Population of the Study

Population can be defined as the set of elements that belong to the target group a researcher
intends to investigate for their study. In a research context, the study population refers to the
specific group of individuals from whom a researcher aims to draw inferences. For this study,
the research population for the qualitative aspect was the General Manager of three major
cinemas in Nigeria. For the quantitative, the population included all 223,804,632 population
in Nigeria from which the sample size was drawn using a snowball sampling technique.

3.5 Sample technique and sample size

The sample size for this study will be across Nigeria, as we are evaluating cinema attendance
in Nigeria For this study, random sampling was used to select the individuals who filled out
the questionnaire, and purposive sampling was used in the selection of interviewees choosing
key players in the cinema industry, namely, Filmone, Genesis, and Silver Birds Cinema.
These are the major key players in the industry because they have the most number of screens
and the largest audience owing to their availability in key states in Nigeria.

We will be employing Taro Yaman method, n = n +Ne²

n = sample size
N = Population size
e =3.5(constant)
The population size for Nigeria
Nigeria = 223,804,632

38
n =223,804,632 / 1 + 223,804,632 (0.05)(0.05)
n = 223,804, 632/ 559, 512.58
n = 399.99
n is approximately 400.
Rounding up to the nearest whole number gives a sample size of 400. Hence, the sample of
this research study was 400 cinema viewers however, only 280 people filled the survey. The
questionnaire was administered via Google Forms.

3.7 Research Instrument

To get a detailed explanation of how the movie streaming platform might have affected
viewership in cinemas, the research instrument is a combination of closed-ended
questionnaires and guided interviews. The data collected from these instruments were
transcribed, coded, and thematically analyzed. The research instrument used for the data
collection was the Google Form. The questionnaire comprised five sections. The first section
gathered demographic information, while the second to the fifth section addressed the
research questions. The second to the fifth section consisted of closed-ended and open-ended
questions. The second component of this study is an interview with stakeholders in the film
industry who are directly affected by Netflix. A virtual interview was held with the General
Manager of Filmone Entertainment, who is also the head of filmhouse cinema distribution. It
is worthy of note that she emphasizes an opinion that represents the Cinema Distributors
Association of Nigeria. An open-ended question was asked, such as "Is Netflix's arrival into
the Nigerian creative landscape a threat to the existence of cinemas?" The transcription of the
virtual interview is available.

3.8 Data Collection Procedure

The data was obtained through a semi-structured in-depth interview that was conducted
through responses from one interviewee via Zoom. The interviewees included the General
Manager of Filmone. For the quantitative study, out of 400 Google form questionnaires with
over 20 questions that were administered to a targeted audience in Nigeria, 301 completed
Google form responses were returned via email.

3.9 Method of Data Presentation and Analysis

39
For this research project, a clear and complete approach to data presentation and analysis was
required. To quantify trends in movie attendance and streaming platform usage, quantitative
data acquired via surveys will be evaluated using descriptive statistics, cross-tabulations, and
statistical tests. Thematic analysis will be used to discover important patterns and storylines
using qualitative insights gleaned from in-depth interviews. The integrated findings will be
presented using visual aids such as charts and graphs for quantitative data, as well as direct
quotes and thematic summaries for qualitative insights, providing a comprehensive
assessment of the impact of movie streaming platforms, with a focus on Netflix and Cinema
attendance in major cities in Nigeria over the past year

40
 CHAPTER FOUR

DATA PRESENTATION, ANALYSIS, AND DISCUSSION

4.1 Introduction
This chapter presents the data and responses collected and discusses the findings to address
the research questions and achieve the research objectives. The analysis and presentation of
data from the surveyed Netflix and Cinema customers were presented first, followed by an
interview with the general manager of FilmOne Cinema. The data was analyzed using the
theories highlighted in the study. A total of 301 questionnaires were retrieved, and an
interview with a major stakeholder was conducted. covers the presentation, analysis, and
discussion of the data gathered from this research.

Demographic data
According to a detailed demographic analysis, 64.2% of respondents fell within the 18 to 34

age group, traditionally associated with both movie attendance and Netflix usage. The

geographical distribution, centered in major movie-rich cities like Lagos, Abuja, Port

Harcourt, Ibadan, and Kaduna, underscored the role of location in influencing cinema

accessibility.

Demographic data unveiled that 69.9% of the 301 participants had visited a cinema, with

58% doing so in the last year. Despite the surge in online streaming platforms, this trend

suggests the enduring popularity of traditional cinema. Simultaneously, 71.5% of respondents

were identified as active users of movie streaming sites, with Netflix emerging as the most

preferred option.

The findings demonstrate a complex coexistence of traditional cinema and internet streaming,

underscoring Netflix's significant impact, as reflected in its popularity among survey

41
participants. This affirms the respondents' capability to offer comprehensive responses that

align with the study's objectives.

42
4.2 Descriptive Statistics

Research Question 1: How has the emergence of movie streaming platforms, particularly
Netflix, influenced the frequency of cinema attendance among the Nigerian audience?

Figure 4.1 How often did you visit the cinema in the past year?
Source: Field Survey, January 2024

Figure 4.1 depicts that 58.% of the study population occasionally visited the cinema in the
past year, while over 34.6% either rarely visited or abstained from cinema attendance
altogether. This points to a significant shift in cinema attendance patterns within the study
population, highlighting a substantial proportion engaging infrequently or not at all in cinema
visits over the past year. This observation aligns with the evolving dynamics in the frequency
of cinema attendance, potentially influenced by the emergence of movie streaming platforms,
particularly Netflix, as suggested by the new research question.

43
Figure 4.2 How often did you use Netflix in the past year?
Source: Field Survey, January 2024

Based on the insights gleaned from Figure 4.2, a conclusive observation becomes evident: a
significant majority of Netflix users are frequent users, with a notable portion engaging at
least either one to two times in a week or three to four times in a week. Interestingly,
approximately 17.9% reported never using the platform in the past year. This highlights the
substantial influence exerted by Netflix in the film industry, showcasing widespread adoption
of the platform, albeit with a noteworthy minority abstaining from its usage. The data
underscores the pervasive impact of Netflix on the viewing habits of a significant portion of
the population, reinforcing its prominent role in the contemporary film landscape.

44
Figure 4.3 Have you noticed a shift in your movie-watching preferences from cinema to
movie streaming platforms like Netflix?
Source: Field Survey, January 2024

Figure 4.3 provides a comprehensive insight into the shifting movie-watching preferences
among respondents, with a notable emphasis on a transition from traditional cinemas to
streaming platforms. 58.7% of the participants, actively acknowledge and confirm this
observed shift. This data highlights a discernible trend in the contemporary entertainment
landscape, indicating an increasing prominence of streaming platforms, with Netflix serving
as a prominent exemplar.
The affirmative responses signify a changing paradigm in how individuals choose to access
and enjoy cinematic content, suggesting a substantial departure from the conventional
cinema-going experience. This shift may be influenced by various factors, including the
convenience, accessibility, and diverse content offerings associated with streaming platforms.
The data contributes valuable insights into the evolving dynamics of audience preferences,
emphasizing the potential impact of the emergence of movie streaming platforms, particularly
Netflix, on the frequency of cinema attendance among the Nigerian audience.

45
Figure 4.4 To what extent do you think Netflix has influenced your cinema attendance
over the past year?
Source: Field Survey, January 2024

Figure 4.4 provides an understanding of respondent perspectives on the interplay between

Netflix usage and cinema attendance, offering valuable insights into the evolving dynamics
of media consumption in Nigeria. 30.4% of participants, affirm a substantial decrease in their
cinema visits relative to their frequency of using Netflix for movie-watching. This
observation underscores the influential role of Netflix in shaping movie-watching preferences
among the Nigerian population.
The discerned decrease in cinema attendance suggests a notable shift in consumer behaviour,
indicating a growing inclination towards online streaming platforms like Netflix. This trend
may be attributed to the convenience, accessibility, and personalised content offerings that
streaming services provide, fostering a departure from the traditional cinema-going
experience. The findings in Figure 4.4 contribute valuable insights into the evolving
dynamics of audience preferences, emphasizing the potential impact of the emergence of
movie streaming platforms, particularly Netflix, on the frequency of cinema attendance
among the Nigerian audience.

46
Research Question 2: What are the key factors that influence movie streaming platforms
and traditional cinema as a mode of film consumption in Nigeria?

Table 4.1 What factors influence your decision to watch a movie in the cinema? (Select
all that apply).

RESPONSE FREQUENCY PERCENTAGE

(%)

Movie Genre 96 35.4

Cast and Crew 92 33.9

Social media reviews 90 33.2

Recommendations from 92 33.9

family and friends

Cinematic experience 110 40.6

None of the above 6 2.2

Source: Field Survey, January 2024

According to the statistics shown in Table 4.1, 40.6% of respondents recognize the crucial
role of the cinematic experience in influencing their film consumption decisions, whether
through traditional cinema or streaming platforms. Supplementary data in the appendix
confirms the fact that a sizable section of the public attends cinemas primarily to see
Hollywood and Nollywood films. Furthermore, the research shows that factors such as movie
genre, recommendations from family and friends, and social media evaluations have a
significant impact on the decision-making process between movie streaming platforms and
traditional cinema as modalities of film consumption in Nigeria.

47
Table 4.2 What factors influence your decision to watch a movie on Netflix? (Select all
that apply).

RESPONSE FREQUENCY PERCENTAGE

(%)

Movie Genre 127 47.6

Cast and Crew 104 39

User ratings on Netflix 74 27.7

Recommendations from 105 39.3

family and friends

Convenience of 159 59.6

watching at home

Social media reviews 124 46.4

None of the options 3 1.1

Source: Field Survey, January 2024

Table 4.2 shows the criteria that influenced respondents to choose Netflix over cinema, with
59.6% citing the convenience of home viewing. A sizable fraction appreciates social media
evaluations and film genres. Further investigation of the appendix data reveals a wide range
of interests outside Nollywood and Bollywood, including Kdrama, series, documentaries,
Chinese films, anime, and other genres not commonly seen in theaters. This demonstrates that
typical movie offerings fail to meet a wide range of viewing interests.
In conclusion, the study underscores the complexities of audience preferences. Respondents
value both the convenience of home viewing and the availability of a variety of content
genres. The research emphasizes Netflix's key role in addressing these diverse interests,
aligning with evolving and expanded audience tastes, a trend that is not fully addressed by
existing cinema.

48
Table 4.3 What aspects of Netflix do you find most appealing in comparison to Cinema
attendance? (Select all that apply)

RESPONSE FREQUENCY PERCENTAGE

(%)

Convenience 178 66.7

Cost 110 41.2

Variety of content 140 52.4

Ability to watch at 194 72.7

anytime

None of the above 14 5.2

Source: Field Survey, January 2024

The findings show that respondents choose Netflix over cinema for three reasons: the
opportunity to watch a movie at any time, the ease of home viewing, and the availability of
different content. The ability to watch at any time is consistent with current lifestyles,
providing on-demand access and unparalleled convenience as compared to fixed cinema
schedules. The simplicity and comfort of home viewing reduce the need for travel and set
screening hours, appealing to viewers who prefer a personalised and relaxed experience.
Furthermore, Netflix's appeal stems from its wide content catalogue, which includes major
Hollywood and Nollywood films as well as specialist interests such as Kdrama, series,
documentaries, Chinese movies, and animation.
This diversity caters to individual preferences, delivering a more personalised and
entertaining viewing experience than the fairly restricted selections of traditional cinemas.
The study emphasizes Netflix's capacity to adapt to changing viewer interests, providing a
dynamic and personalized approach to modern movie consumption.

49
Table 4.4 What aspects of Cinema do you find most appealing in comparison to Netflix?
(Select all that apply)

RESPONSE FREQUENCY PERCENTAGE

(%)

Convenience 44 16.6

Cost 20 7.5

Variety of content 31 11.7

Ability to watch at any 24 9.1

time

None of the above 133 50.2

Source: Field Survey, January 2024

Despite the overwhelming preference for Netflix among respondents, the open-ended
responses provide multifaceted insights into the reasons for this decision. The recurring
subject emphasizes the movie experience's distinguishing features, including the lure of
socialization, the immersive environment, the enormous screen, and the physical cinema hall.
The attraction for the cinema experience stems from its social side, as theatres serve as
community locations for shared movie-watching experiences with friends or family,
generating a sense of togetherness. This socialization factor, combined with the group
pleasure of films on a big screen, adds to the attractiveness of cinemas as places for shared
amusement. Furthermore, the open-ended comments highlight the importance put on the
tactile and sensory parts of the cinema experience.
While practical factors like convenience, content variety, and on-demand viewing are
significant, the open-ended responses indicate that, for a considerable part of respondents, the
fascination of the theatre goes beyond these elements. The cinema experience, with its
emphasis on social interactions, immersive surroundings, and the tangible qualities of
physical space, has a particular and long-lasting attraction, providing significant insights into
the diverse nature of audience preferences.

50
Research Question 3: How do the current trends in Cinema attendance and the
dominance of Netflix in the past year project the future landscape of the movie industry
in Nigeria?

Figure 4.5 Has the availability of movies on Netflix affected the quality of movies
produced for cinema release in Nigeria?
Source: Field Survey, January 2024

Figure 4.5 visually conveys respondent perspectives on the perceived impact of Netflix on the
quality of movies released in cinemas. The majority of respondents, as indicated by the
agreement of 57.2%, suggest that Netflix has indeed influenced the overall quality of films
produced for traditional cinema release.
This observation opens avenues for further exploration into the specific aspects of quality that
respondents associate with Netflix's impact. The study may delve into whether respondents
believe that Netflix has raised standards in storytelling, cinematography, or production
values, or if there are concerns about a potential impact on creativity and originality in
cinema productions. Understanding the areas of perceived influence on movie quality might
provide important insights into the changing dynamics between internet streaming platforms
and traditional cinema.

51
Figure 4.6 Has Netflix positively or negatively impacted the Nigerian cinema industry
overall?
Source: Field Survey, January 2024

The fact that 61.7% of respondents agreed that Netflix had a positive influence on the
Nigerian cinema industry highlights the streaming platform's perceived importance in altering
the broader cinematic environment. Several reasons may have contributed to this
convergence of viewpoints. For starters, Netflix's extensive content catalogue, which includes
a wide range of genres and international productions, offers viewers a more diverse and
accessible selection of cinematic possibilities. Second, Netflix's ease and flexibility for on-
demand viewing appeal to changing audience tastes for personalized and adaptable movie-
watching experiences. Furthermore, the good view may arise from Netflix's role in bringing a
global audience to Nigerian films and contributing to the internationalization of the country's
cinematic production. Overall, the agreement illustrates Netflix's evolving and constructive
involvement in shaping and enriching the Nigerian cinema sector.

52
Table 4.5 What would motivate you to choose traditional cinema over movie streaming
platforms in the future? (Select all that apply)

RESPONSE FREQUENCY PERCENTAGE

(%)

Cinematic Experiences 149 53.8

Social gathering 150 54.2

Exclusive Releases 84 30.3

Premium Atmosphere 63 22.7

Community 69 24.9

Engagement

Source: Field Survey, January 2024

Table 4.5 shows a strong trend among research participants, demonstrating that the theatre
experience and social gathering remain the most important factors when selecting a movie,
outweighing the attractiveness of movie streaming services. This demonstrates the lasting
popularity of the conventional cinema environment, stressing the significance that
participants place on the communal and immersive features of the film experience. The
findings indicate that, despite the rise of movie streaming platforms, the unique
characteristics associated with cinemas, such as shared social experiences and the grandeur of
the large screen, continue to occupy a distinct and favoured place in the preferences of the
research participants. Participants mentioned various difficulties with traditional cinema in
comparison to Netflix, such as the lack of subtitles for certain movies, limited accessibility in
specific places, and the inability to rewind films. These recurring concerns highlight the
benefits that streaming services such as Netflix provide in terms of accessibility,
convenience, and user control over the viewing experience.

53
Table 4.6 What would motivate you to choose a movie streaming platform over
traditional cinema in the future? (Select all that apply)

RESPONSE FREQUENCY PERCENTAGE

(%)

Diverse content 152 54.5

Cost Savings 145 52

Convenience 195 69.9

Original productions 67 24

User-Friendly Interface 103 36.9

Source: Field Survey, January 2024

Table 4.6 summarizes the participants' preferences and considerations when selecting a movie
streaming platform, including convenience, diversified content, and cost-saving elements.
The statistics show that the majority of research participants rank convenience as the most
important aspect in choosing a streaming platform, followed by considerations for diversified
content and cost savings when choosing Netflix over other options. The importance of ease in
decision-making is consistent with current media consumption patterns, in which viewers
favour flexible and on-demand access to content. The consideration of cost savings
demonstrates a pragmatic mindset among participants, who recognize the economic value of
subscription-based services. Participants' preference for Netflix may be influenced by their
notion that it is a less expensive option than other streaming providers. The emphasis on
different content indicates that participants value a wide range of entertainment options,
implying that Netflix's huge library catering to many genres and cultural preferences has a
significant impact on their platform selection.

54
4.3 Interview Data
Data for this research was obtained using semi-structured in-depth interviews to explore the
future landscape of the movie industry in Nigeria?

Respondents General Manager Film House Cinema

Gender Female

How would you describe the current state of
cinema attendance in Nigeria in the past
year? (2022-2023)
We have witnessed an increase in the
number of people that go to cinemas. Since
2016 we have had a consistent trend of the
number of people that visit cinemas year on
year, it goes up. The only year we ever had
a decrease was of obviously the elephant in
the room, Covid. Cinemas were closed for
close to 7 months, save for Covid after
which we even thought it won't go up, but
then in December past year, we had a
bumper December like we've never had in
the history of cinema, the biggest December
and we are having a bumper January as
well, if not the biggest January we have had
in recent times. Ticket prices have gone up,
but still we are up on admissions so this
shows people are happy with the content we
are putting out there

55
What has influenced this bumper December? Tribe Called Judah, and while Tribe Called
Judah had the lion's share like 5 times her
competitors, the fact that we had close
substitutes for that also played a part. We
had Aquaman in cinemas, we had Malaika
and Ada, the Omor daddy. The only time
we've had a year that had close substitutes
like this was in 2019 when we had Chief
Daddy, Sugar Rush, and AY's movie. That
is a time when you go to the cinema and
you have quality options to choose from.

In your opinion, would you say you have
noticed any impact since Netflix became one there are pros and cons as it affects cinema.
of the players in the film industry in Nigeria The pros are that it further drove home
Absolutely, what I've noticed, I would say
Nollywood as an option in cinema because
before it came in there were many people
that would go to the cinema and watch just
Hollywood movies, but with the streamer,
they access high-quality Nollywood content
and they watch it and like it, or perhaps they
don't like it, but then people start talking
about it and that gave these movies
popularity and also spurred people to watch
it when they went to the cinema. Another
thing is the creation of jobs, in the film
industry there are not many grants, so the
budgets are tighter and you don't earn as
much and there are not many opportunities
to earn because only a few people do the big
productions, but with Netflix, there were
more equitable with pay so it gave people
the opportunity to earn more. Also, revenue
because a lot of times when films are
produced, you go to the cinema and then
you have to go to a pay-TV platform, we
didn't have what is called a pay one window
where you go and monetize your film
exclusively on any of these streamers, their
entry gave people the opportunity to make

56

How impactful would you describe this hit?
Is it so impactful that it could be the end of
cinemas or there are ways to work around
these cons
57
money through that platform as opposed to
if you are lucky you break even. They
created a way for it to be monetized so that
could actually build careers and not just do
things out of passion. They have also done a
lot of work on training, when they came in,
they came with a lot of expertise even
during COVID there was so much they did
for a lot of people. The cons are cinema is
expensive and expensive to do, so we had
producers do film and just go straight to
streaming platforms as opposed to cinemas
and this affected the ecosystem, few
cinemas went down and didn't get back up
because they couldn't afford to stay open.
And that inspired us into the sort of
production that was left for cinemas.
I will say the latter, there is a way to work
around it. There is something about show
biz that gets the celebrity excited and that
excitement, you can only get it in cinema,
that adrenalin that push. They like the
attention When you put a movie on a
streaming platform, it doesn't blow out past
the premier as opposed to the cinema where
there is the build-up of attention eg highest
grossing actor, highest grossing, take
pictures with the stars but you can't do that
on the streaming platform cause it's tied
majorly to subscription. I think there is
space for both of them, I do not think it is
dying, stars are made on the big screen.
There is a way you look at a star on the big
screen that no matter what happens the
streaming platform doesn't provide. The big
films should do cinema runs and then go on
to the pay-one window. It's a model that
even cinemas abroad adopt that the big
investments belong to the big screen. They
tried to change it in Covid but it didn't work
as they learned that the big investments
belong on the big screen and I don't think
it's going to change a lot of streaming
platforms benefit from the publicity that
comes from the big screen.
Can the relationship between the Cinema
and Movie streaming platforms be
symbiotic?
In the past, old cinema died because of home
videos and it seems like there is a play out
again, would you say it is a duty that the
Cinema culture does not die?
What practical steps has cinemas taken to be
able to see how they can pad the effects of
these streaming platforms?
58
Yes, even when we deal with streamers,
they always want us to put a section of this
film in the cinema so that there is already an
awareness of the movie rather than having
to build awareness for the movie from
scratch. With a film that has gone to the
cinema you can pull in testimonials from
people who have watched it, you can have
put-outs like 'the highest-grossing movie is
coming in so so date, etc.'
Yes without a doubt, it is the burden we
hear as market leaders. It is our duty that we
ensure that cinema doesn't die, the onus is
on us. It can happen, but we must ensure
that we are encouraging the big producers to
make cinema films, it keeps the ecosystem
alive.
Understanding that your competition is not
the other cinemas but every other thing that
your consumers do eg if I were a cinema
site, my competition is not the next Cinema,
my competition is the restaurant, the
concert, and all the other things that people
do. The moment you realize that you will
understand why your offerings need to be
diversified. It's like having restaurants in the
cinema spaces which is more like saying
don't go to a restaurant..you can eat here
while you watch the film, people also have
salsa nights at cinemas. I would also be very
flexible on the prices so while you have
blockbuster prices, do you have special days
that you do certain discounts? It's about
being creative Going to the cinema has now
become a lifestyle decision, because if there
was a list of three things people want to do,
the cinema is on the list, but how can we be
at the top of the list? The moment you
understand what your competition is, then

In the past, old cinema died because of home
videos and it seems like there is a play out
again, would you say it is a duty that the
Cinema culture does not die?
How can the government help protect the
cinema industry?
59
you will be able to provide for your
customers, your competition is not the other
cinemas but every other thing that people
do. I've seen a cinema outside the state
where they decided to sell tickets for the
premiere League. So it's about building that
culture where you can offer much more than
film, where you position yourself like if you
. If it's only film you are selling, people can
get it at the click of a button. Another thing
would be premium formats like dbox etc,
something you can't get at home. There's
also how are you scheduling and how are
you marketing your film
Yes without a doubt, it is the burden we
hear as market leaders. It is our duty that we
ensure that cinema doesn't die, the onus is
on us. It can happen, but we must ensure
that we are encouraging the big producers to
make cinema films, it keeps the ecosystem
alive.
By reducing the taxes, they can start with
that. Three levels of taxes hit film,
Entertainment tax -5% withholding tax 10%
and VAT 7.5%, so before you get your
money as a producer, the government is
eating three different ways. If I'm doing a
film and all I'll get out is less than 30
percent it is a drawback, so reducing the
taxes would encourage production
Concerning the recommendation on giving
power to government bodies, l. A says she
had reservations as she did not see the
government having any place to input in
something they had to support in. She input
that this can only work when the
government gives grants to filmmakers then
they can decide how they distribute.
4.5 Discussion of Findings
The findings below were derived from an analysis of the data obtained from the survey
conducted as well as the interview responses. These findings were discussed about the
research questions posed in the study.

Research Question 1: How has the availability and popularity of movie streaming
platforms, particularly Netflix, influenced the frequency and preferences of Cinema
attendance among the population in Nigeria in the past year?
To answer this research question, both qualitative and quantitative data were used and the
findings of this study reveal if Netflix did have an impact on Cinema attendance and
attendance among the target audience. It was discovered that the availability of streaming
services such as Netflix influenced how frequently and what consumers watched at cinemas
in Nigeria during the last year. According to the findings, many respondents visited the
cinema on occasion, with a significant proportion having done so during the previous year.
However, the awareness of their frequent usage of Netflix, along with a concentrated shift in
movie-watching inclinations towards streaming platforms, implies that the landscape is
shifting as a result of the ease and diversity accessible online. This is compatible with
Cultural and Media Convergence Theory, which proposes that traditional media become
computerised.
The increase in the number of people visiting cinemas over the last year, despite external
constraints such as COVID-19, demonstrates that cinema is still viable and adaptable because
it has been through difficult times in the past. The public's positive reaction, even with the
ticket price hike, reflects their pleasure with what they consume. This truth is consistent with
the concepts of the Uses and Gratifications Theory, which emphasises how people actively
seek gratification from numerous media possibilities such as traditional movie screening.
The data and the General Manager's statements collectively suggest that the availability and
popularity of streaming platforms, particularly Netflix, has changed the patterns in which
Nigerians view movies.
While there is evidence of a shift in tastes, with respondents visiting the cinema less
frequently, the entire cinema industry, as indicated by the General Manager's comment,
continues to prosper and evolve. The convergence of traditional cinema and internet
streaming experiences demonstrates that consumers value the coexistence of both mediums,
supporting the theory's emphasis on the blending of diverse media forms in today's media
ecosystem.

60
Research Question 2: What are the key factors that influence movie streaming platforms
and traditional cinema as a mode of film consumption in Nigeria?
The findings obtained from quantitative and qualitative research show the factors that
influence movie streaming platforms and conventional theaters as modes of film consumption
in Nigeria are quite different. According to the statistics, respondents value convenience,
diversity of programs, and time savings when choosing Netflix, but the cinema experience,
which includes the social aspect, immersive atmosphere, and real aspects, influences their
decision to watch movies at a theater. This supports the Uses and Gratifications Theory,
which emphasizes people's preferences depending on their own requirements. The thoughts
of the General Manager of Filmhouse shed light on both positive and bad aspects of Netflix's
impact on cinemas. Positives include Netflix's support of Nollywood's success in cinemas,
job opportunities, equal compensation, and quick cash generation through unique
monetization windows. On the other side, several cinemas are closing due to financial
difficulties caused by the shift to streaming platforms. According to the manager's
perspective, cinema does not become superfluous but rather finds a way to coexist. Nothing
can replace the ultimate thrill and celebrity buzz that comes with going to the movies,
particularly for large productions. This is consistent with the Cultural and Media
Convergence Theory, which argues for convergence by blending classic and emergent media.
To summarize, the impact of Netflix on the Nigerian film industry has both pros and cons.
Although streaming systems have advantages in terms of convenience and cost, cinemas have
something that nothing else can replace. The two platforms can survive despite differing
fundamental values on what is acceptable. This study shows that the quickly changing terrain
may accommodate both traditional and streaming modes, emphasizing the importance of a
balanced approach that captures the advantages of each medium over its adversary.

Research Question 3: How do the current trends in Cinema attendance and Netflix in the
past year project the future landscape of the movie industry in Nigeria?

61
The combination of qualitative and quantitative results from the study established that the
previous year's trends in theater attendance and Netflix demonstrate the Nigerian film
industry's complex and dynamic nature. The research highlights the factors that influence
film quality, the impact of Netflix on Nigerian cinema, and the reasons why people choose
traditional movies over Netflix. Cultural and Media Convergence Theory can help analyze
these phenomena by emphasizing the coexistence of classic and emergent media. The
General Manager of Filmhouse discusses how cinemas are taking practical steps to overcome
the issues posed by streaming platforms. Diversification outside movies is also a strategic
approach to broadening the cinema experience through salsa nights and food services in
theatres.
Furthermore, dynamic price management and premium formats aim to provide distinct value
propositions that differ from at-home viewing. The emphasis on developing a film culture
outside the movie aligns with the Cultural and Media Convergence theory, which recognizes
that cinemas must evolve to remain relevant.
The weight and duty that market leaders are expected to shoulder, as stated by the General
Manager, demonstrates how important cinemas have become in preserving cinema culture.
This represents the idea that cinemas are more than just a venue to see movies; they are also
an integral component of culture, providing an entertainment package. The manager's appeals
for government intervention, particularly tax reductions, have become necessary to create an
economic environment that will continue to promote the growth of the movie sector. The
allusion to taxes affecting film production at various levels indicates that policy reforms are
required to promote and facilitate filming.
The concerns identified about the government's method of granting funding to filmmakers
demonstrate how intertwined politics is in the business. Although financial backup is vital,
inefficiencies perceived to arise from the processes and manner of allocation in the decision-
making process highlight the importance of drawing a thin boundary between the
government's mobilizing role in film production.

62
 CHAPTER FIVE
Summary Of Discussions, Conclusions, and Recommendations

5.1 Summary of Discussion

This study sought to thoroughly explore the substantial impact of movie streaming platforms
on cinema attendance in Nigeria. Using the Uses and Gratifications Theory, Technological
Determinism Theory, and Cultural and Media Convergence Theory, the research objectives
focused on understanding the impact of these platforms, particularly Netflix, on film
consumption preferences and projecting the future landscape of the movie industry.
A mixed-method strategy, comprising surveys and in-depth interviews, was used to collect
quantitative and qualitative data from a broad population. The survey component sought to
assess cinema attendance frequency, preferences, and factors that influence movie
consumption. In-depth interviews provided a better grasp of the motivations driving
quantitative patterns.
The results revealed significant shifts in movie-watching habits, with a sizable proportion of
respondents choosing infrequent or no cinema attendance, stressing the importance of movie
streaming services, particularly Netflix. The qualitative data revealed that motivations such as
convenience, variety of material, and tailored watching experiences drive the choice for
streaming platforms over traditional theaters. However, the ongoing attractiveness of cinema,
which is based on socializing and an immersive physical experience, remained clear.
The study was organized into five chapters, the first of which described the problem
description, research questions, scope, and constraints. Chapter Two included a thorough
overview of pertinent literature, and Chapter Three described the research methods. Chapter
Four featured statistical analysis and interpretations of findings, exposing the complex
dynamics of cinema attendance trends.
Finally, this study's robust methodology and theoretical framework shed light on the
changing landscape of cinema attendance in the face of the growing influence of movie
streaming platforms, providing nuanced insights into the factors shaping viewer preferences
and the future trajectory of the Nigerian film industry.

5.2 Conclusion
In conclusion, the findings of this study highlight a significant change in movie-watching
habits among Nigerians, with movie streaming platforms, particularly Netflix, having a
considerable impact on cinema attendance. The results show a complicated interplay of

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causes, with streaming services' convenience, diverse content, and personalized experiences
contributing to a fall in traditional cinema visits. Nonetheless, many elements of society
continue to be drawn to movies, which are based on socialization and an intensive physical
experience. This study sheds light on the changing dynamics of the film industry,
emphasizing the importance of cinemas adapting creatively to changing customer tastes while
recognizing the long-term cultural and social worth of the conventional cinema experience.
The study approaches used, which included quantitative surveys and qualitative in-depth
interviews, provided a thorough knowledge of the complex variables driving these
developments. Theoretical frameworks such as Uses and Gratifications Theory,
Technological Determinism Theory, and Cultural and Media Convergence Theory laid a solid
platform for interpreting the findings. This study adds to the academic discourse on the
changing landscape of cinema attendance in the digital age, emphasizing the need for a
nuanced approach that recognizes the coexistence of traditional cinemas and emerging
streaming platforms within the diverse preferences of the Nigerian audience.

5.3 Recommendation
These recommendations aim to strike a balance between embracing the evolving landscape of
movie consumption and preserving the unique elements that make traditional cinemas
culturally significant. The recommendations include:
● Cinemas should explore diversifying their products to meet shifting consumer tastes.
This could include special events, themed nights, or unique experiences that go
beyond typical cinema screenings. Embracing pricing flexibility, such as discounted
days or bundled packages, can help cinema outings appeal to a larger audience.
● Establishing strategic collaborations with streaming platforms can benefit both
cinemas and online businesses. Collaborations could include special screenings, joint
promotions, or packaged subscriptions that provide consumers with more value. By
embracing synergy, the cinema and streaming businesses can complement each
other's capabilities and improve the entire movie-watching experience.
● Recognizing the long-term benefits of socialization in the film experience, theaters
might invest in exciting communal areas. Initiatives such as cinema-based events,
interactive sessions with filmmakers, and themed gatherings can develop a sense of
community, making cinema trips more appealing than just the film itself.
● Cinemas could consider investing in premium formats and technology that offer a
unique watching experience. D-Box seating, advanced sound systems, and large-

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 format screens can distinguish the theater experience, providing something that
streaming platforms may fail to recreate at home.
● Governments may help the filmmaking sector by revising tax rules and providing
incentives to filmmakers. Reducing entertainment taxes and other financial burdens
on film production can stimulate more diversified and high-quality material, which
benefits both cinemas and streaming platforms. Furthermore, regulations that
encourage movie attendance as a cultural experience may help to ensure its long-term
significance.

5.4 Suggestions for Further Studies

Future research could focus on the psychological aspects of spectator engagement, such as
how emotional responses, cognitive involvement, and immersive experiences influence
choices for cinema or streaming. Another area of research is an in-depth examination of the
economic impact of streaming platforms on the film business, including revenue-sharing
mechanisms, profitability, and sustainability for both sectors. Furthermore, researchers could
investigate the impact of future technologies, such as virtual reality, on the cinematic
landscape and audience preferences. A cross-cultural study examining the influence of
streaming platforms on movie attendance in various locations could reveal important
worldwide trends and variances in consumer behaviour.

65
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APPENDICES

RESEARCH QUESTIONAIRE
SECTION 1: DEMOGRAPHIC INFORMATION
1.1. Age
Multiple choice: 5 options
1.2. Gender
Multiple choice: 2 options
1.3. Occupation
Multiple choice: 4 options
1.4. Location
Multiple choice: 4 options
Section: Section 2: Cinema and Movie streaming Platforms (Netflix, prime video,
Showmax)
2.1. Do you visit the cinema?
(Please, if no, you can go ahead to submit the questionnaire.).
Multiple choice: 4 options
2.2. If yes, how often did you go to Cinema in the past year?
Multiple choice: 4 options
2.3. What cinema do you frequently visit?
Checkboxes: 4 options
2.4. On average, how much do you spend on cinema tickets and snacks per visit?
Multiple choice: 3 options
2.5. Are you currently subscribed to any movie streaming platforms?
Multiple choice: 4 options
2.6. If yes, what movie streaming platform are you subscribed to?

69
Checkboxes: 4 options
2.7. Do you currently have a Netflix subscription?
Multiple choice: 3 options
2.6. What package are you subscribed to on Netflix?
Multiple choice: 4 options
2.5. How often did you use Netflix in the previous year?
Multiple choice: 5 options

SECTION: SECTION 3: PREFERENCES AND BEHAVIOR

3.1. What factors influence your decision to watch a movie in the cinema? (Select all
that apply.)
Checkboxes: 6 options
3.2. What factors influence your decision to watch a movie on Netflix? (Select all that
apply.)
Checkboxes: 7 options
3.3. What type of content do you mainly watch on Netflix? (Select all that apply.)?
Checkboxes: 4 options
3.3. What type of content do you mainly watch in the cinema? (Select all that apply.)
Checkboxes: 4 options
3.3. Have you noticed a shift in your movie-watching preferences from cinema to
streaming services like Netflix?
Multiple choice: 3 options
SECTION: SECTION 4: IMPACT ASSESSMENT
4.1. To what extent do you think Netflix has influenced your cinema attendance over
the past year?
Multiple choice: 5 options
4.2. What aspects of Netflix do you find most appealing compared to cinema viewing?
Checkboxes: 6 options
4.2. What aspects of cinema do you find most appealing in comparison to Netflix?
Checkboxes: 6 options
4.3. Do you think the availability of movies on Netflix has affected the quality of
movies produced for cinema release in Nigeria?
Multiple choice: 3 options

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4.4. Would you say that Netflix has positively or negatively impacted the Nigerian
cinema industry overall?
Multiple choice: 4 options
SECTION: SECTION 5: FUTURE PREFERENCES
5.1. Do you foresee a continued shift towards movie streaming services over traditional
cinemas in the next few years?
Multiple choice: 3 options
5.2. What would motivate you to choose traditional cinema over movie streaming
services in the future?
Checkboxes: 6 options
5.3. What would motivate you to choose movie streaming services over traditional
cinema in the future?
Checkboxes: 6 options
5.4. Is there anything else you would like to share about your traditional cinema or
movie streaming experiences?

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