Matthew H. Brown explores the connections between Nigeria's booming film industry, state television, and colonial legacies that together involve spectators in global capitalism while denying them its privileges.
Matthew H. Brown explores the connections between Nigeria's booming film industry, state television, and colonial legacies that together involve spectators in global capitalism while denying them its privileges.
Acknowledgments vii Introduction: Indirect Subjectivities and Periliberalism 1 Part I. 1. Subjects of Indirect Rule: Nigeria, Cinema, and Liberal Empire 33 2. Emergency of the State: Television, Pedagogical Imperatives, and The Village Headmaster 66 Part II. 3. "No Romance without Finance": Feminine Melodrama, Soap Opera, and the Male Breadwinner Ideal 99 4. Breadlosers: Masculine Melodrama, Money Magic, and the Moral Occult Economy 150 5. Specters of Sovereignty: Epic, Gothic, and the Ruins of a Past That Never Was 185 6. "What's Wrong with 419"?: Comedy, Corruption, and Conspiratorial Mirrors 221 Conclusion: Fantasies of Integration or Fantasies of Sovereignty 263 Notes 271 Filmography 285 Bibliography 289 Index 303
Acknowledgments vii Introduction: Indirect Subjectivities and Periliberalism 1 Part I. 1. Subjects of Indirect Rule: Nigeria, Cinema, and Liberal Empire 33 2. Emergency of the State: Television, Pedagogical Imperatives, and The Village Headmaster 66 Part II. 3. "No Romance without Finance": Feminine Melodrama, Soap Opera, and the Male Breadwinner Ideal 99 4. Breadlosers: Masculine Melodrama, Money Magic, and the Moral Occult Economy 150 5. Specters of Sovereignty: Epic, Gothic, and the Ruins of a Past That Never Was 185 6. "What's Wrong with 419"?: Comedy, Corruption, and Conspiratorial Mirrors 221 Conclusion: Fantasies of Integration or Fantasies of Sovereignty 263 Notes 271 Filmography 285 Bibliography 289 Index 303
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