瑙萊塢 講述非洲故事的尼日利亞電影夢工廠

ASABA, Nigeria — Sitting on a blue plastic stool in the sweltering heat, Ugezu J. Ugezu, one of Nigeria’s top filmmakers, was furiously rewriting his script as the cameras prepared to roll. “Cut!” he shouted after wrapping up a key scene, a confrontation between the two leading characters. Then, under his breath, he added, “Good as it gets.”

尼日利亞阿薩巴——酷熱之下，尼日利亞頂尖的電影人尤格祖·J·尤格祖(Ugezu J. Ugezu)正坐在一張藍色的塑料凳子上奮筆疾書，修改劇本。攝像機做好了開動的準備。“停！”他在一場關鍵的戲結束後喊道。那是兩位主演的一場對手戲。之後，他又低聲說，“還算不錯。”

This was the seventh — and last — day of shooting in a village near here for “Beyond the Dance,” Mr. Ugezu’s story of an African prince’s choice of a bride, and the production had been conducted at a breakneck pace.

這是尤格祖執導的影片《舞蹈之外》(Beyond the Dance)在這附近的一個村莊取景拍攝的第七天，也是最後一天，這部電影的製作速度非常快。影片講述的是一個非洲王子選擇新娘的故事。

“In Nollywood, you don’t waste time,” he said. “It’s not the technical depth that has made our films so popular. It’s because of the story. We tell African stories.”

“在瑙萊塢，不能浪費時間，”他說。“讓我們的電影大受歡迎的不是高深的技術，而是故事。我們講的是非洲故事。”

The stories told by Nigeria’s booming film industry, known as Nollywood, have emerged as a cultural phenomenon across Africa, the vanguard of the country’s growing influence across the continent in music, comedy, fashion and even religion.

“瑙萊塢”(Nollywood)是尼日利亞蓬勃發展的電影工業的代稱。這裏講述的故事，已經成了整個非洲的一種文化現象。尼日利亞在非洲大陸的音樂、喜劇、時尚乃至宗教領域的影響力日漸增強，而瑙萊塢電影則充當了先鋒。

Nollywood generates about 2,500 movies a year, making it the second-biggest producer after Bollywood in India, and its films have displaced American, Indian and Chinese ones on the televisions that are ubiquitous in bars, hair salons, airport lounges and homes across Africa.

瑙萊塢一年的電影產量約爲2500部，是僅次於印度寶萊塢(Bollywood)的第二大電影產地。在非洲各地的酒吧、髮廊、機場候機廳和居民家中隨處可見的電視上，瑙萊塢電影已經取代了美國、印度和中國的電影。

The industry employs a million people — second only to farming — in Nigeria, pumping $600 million annually into the national economy, according to a 2014 report by the United States International Trade Commission. In 2002, it made 400 movies and $45 million.

美國國際貿易委員會(United States International Trade Commission)在2014年發佈的一份報告顯示，尼日利亞電影業有100萬從業人員——僅次於農業——每年會爲國民經濟貢獻6億美元。而2002年時，尼日利亞電影業的產量只有400部，收入也僅有4500萬美元。

Nollywood resonates across Africa with its stories of a precolonial past and of a present caught between village life and urban modernity. The movies explore the tensions between the individual and extended families, between the draw of urban life and the pull of the village, between Christianity and traditional beliefs. For countless people, in a place long shaped by outsiders, Nollywood is redefining the African experience.

瑙萊塢憑藉其講述的故事在整個非洲引起了共鳴，如這片大陸在淪爲殖民地之前的歷史，以及當下夾在農村生活和城市現代化之間的體驗。影片探究了個人與大家庭之間、城市生活的吸引力與農村生活的牽絆之間、基督教和傳統信仰之間的衝突。這裏長久以來一直被外來者左右，對於這裏的許多人來說，瑙萊塢正在重新定義非洲的體驗。

“I doubt that a white person, a European or American, can appreciate Nollywood movies the way an African can,” said Katsuva Ngoloma, a linguist at the University of Lubumbashi in the Democratic Republic of Congo who has written about Nollywood’s significance. “But Africans — the rich, the poor, everyone — will see themselves in those movies in one way or another.”

“我懷疑白人，不管是歐洲人還是美國人，無法像非洲人那樣欣賞瑙萊塢的電影，”剛果民主共和國盧本巴希大學(University of Lubumbashi)語言學專家卡楚瓦·恩戈洛馬(Katsuva Ngoloma)說。“但是非洲人，無論貧富貴賤，都會從這些電影裏以某種方式看到自己的影子。”恩戈洛馬曾撰文論述瑙萊塢的重要意義。

In Yeoville, a neighborhood in Johannesburg that is a melting pot for migrants, a seamstress from Ghana took orders one recent morning for the latest fashions seen in Nollywood movies. Hairstylists from the Democratic Republic of Congo, Mozambique and Zimbabwe, working in salons or on the street, offered hair weaves following the styles favored by Nollywood actresses.

約翰內斯堡的約維爾(Yeoville)地區是移民的大熔爐。不久前的一天上午，一名來自加納的女裁縫接到訂單，要縫製瑙萊塢電影裏出現的最新服飾。來自民主剛果、莫桑比克和津巴布韋的髮型師，不管是在店裏還是在街頭工作的，都會按照瑙萊塢女演員喜歡的髮型給顧客做頭髮。

“Nigerian movies express how we live as Africans, what we experience in our everyday lives, things like witchcraft, things like fighting between mother-in-laws and daughter-in-laws,” said Patience Moyo, 34, a Zimbabwean hair-braider. “When you watch the movies, you feel it is really happening. One way or another, it will touch your life somewhere.”

“尼日利亞的電影表現的是我們非洲人的生活方式，我們在日常生活中的經歷，比如巫術和婆媳大戰等，”34歲的津巴布韋籍辮髮師佩興絲·莫約(Patience Moyo)說。“看電影的時候，你會覺得電影裏發生的是真事。不管怎樣，總會觸及你生活的某個地方。”

Back in 2002, the movies were simply known as Nigeria’s home videos. They were popularized at first through video cassettes traded across Africa, but now Nollywood is available on satellite and cable television channels, as well as on streaming services like iRokoTV. In 2012, in response to swelling popularity in Francophone Africa, a satellite channel called Nollywood TV began offering round-the-clock movies dubbed into French. Most Nollywood movies are in English, though some are in one of Nigeria’s main ethnic languages.

在2002年，瑙萊塢的電影還只能叫做尼日利亞家庭錄像。它們最初是通過在非洲各地都能買到的錄像帶流行起來的。但現在，在衛星和有線電視頻道，以及iRokoTV等流媒體服務平臺上，均能看到瑙萊塢的影片。2012年，爲迴應瑙萊塢電影在非洲法語地區大受歡迎的局面，一個名叫瑙萊塢電視(Nollywood TV)的衛星頻道，開始全天播放法語配音的電影。瑙萊塢電影大多使用英語，不過也有一些影片用尼日利亞主要的民族語言。

Until Nollywood’s ascendance, movies made in Francophone Africa — with grants from the French government — dominated filmmaking on the continent. But these movies catered to the sensibilities of Western critics and viewers, and won few fans in Africa, leaving no cultural footprint.

在瑙萊塢崛起之前，非洲法語國家攝製的電影，把持着這片大陸上的電影業。但這些靠法國政府的經費拍攝的影片，迎合的是西方影評人和觀衆的感情，在非洲幾乎沒有影迷，也沒有留下文化印記。

In Nollywood, though, movies are still financed by private investors expecting a profit.

但在瑙萊塢，電影製作的資金依然來自希望賺到錢的私人投資者。

“You want to do a movie? You have the script? You look immediately for the money and you shoot,” said Mahmood Ali-Balogun, a leading Nigerian filmmaker. “When you get a grant from France or the E.U., they can dictate to you where to put your camera, the fine-tuning of your script. It’s not a good model for us in Africa.”

“想拍電影？劇本有了？馬上就能籌集資金開拍，”尼日利亞知名電影人馬哈茂德·阿里-巴洛貢(Mahmood Ali-Balogun)說。“要是用法國和歐盟的撥款，它們會規定攝像機的位置，還會改劇本。對我們這些在非洲的人來說，這種模式不好。”

Mr. Ali-Balogun was speaking from his office in Surulere, Lagos, the birthplace of Nollywood. Film production has since moved to other cities, especially Asaba, an otherwise sleepy state capital in southeastern Nigeria. On any given day, a dozen crews can be found here — “epic” films with ancient story lines like “Beyond the Dance” are in the works in nearby villages, while “glamour” movies about modern life make the city itself their sets.

阿里-巴洛貢是在他位於拉各斯蘇魯里爾(Surulere)的辦公室接受採訪的。這裏是瑙萊塢的誕生地。如今，電影製作已轉移至其他城市，特別是阿薩巴。如果沒有電影業，位於尼日利亞東南部的阿薩巴就只是一個寧靜的州首府。任何一天，都能在這裏看到幾十個劇組。像《舞蹈之外》這種有古代故事情節的“史詩”片，要在附近村子裏的製片廠攝製，而講述現代生活的“時髦”片則把城市本身當作佈景。

One recent entry in the glamour category was “Okada 50,” the story of a woman and son who, after leaving their village, open a coffin business in the city and terrorize their neighbors.

最近有一部時髦片叫《奧卡達50》(Okada 50)，講的是一對母子離開他們生活的村子，在城裏開了一家棺材店，並因此嚇着了周圍鄰居的故事。

Most films have budgets of about $25,000 and are shot in a week.

大部分電影的預算都在2.5萬美元左右，在一週之內完成拍攝。

Once completed in Asaba, the movies find their way to every corner of Africa, released in the original English, dubbed into French or African languages, and sometimes readapted, repackaged and often pirated for local audiences. Many movies are also propelled by a symbiotic relationship with Nigeria’s Pentecostal Christianity, which pastors have exported throughout Africa.

在阿薩巴一完成製作，電影便會進入非洲的各個角落。英語原聲的電影會被配音成法語或非洲語言。有時候，影片還會針對當地觀衆進行重新改編和重新包裝，這些通常都是盜版。由於牧師們已經將尼日利亞的基督教五旬節派(Pentecostal Christianity)傳播到了整個非洲，許多電影也因爲與該教派相輔相成的關係，而得到了推動。

In the Democratic Republic of Congo, pastors who visited Nigeria years ago returned with videocassettes and showed the films in church to teach Christian lessons and attract new members, said Katrien Pype, a Belgian anthropologist at the University of Leuven who has written about the phenomenon.

魯汶大學(University of Leuven)的比利時人類學家卡特林·派珀(Katrien Pype)稱，在民主剛果，多年前來到尼日利亞的牧師，回國時帶了很多錄像帶，爲了教授基督教課程和吸引新信徒，而在教堂裏放映電影。派珀曾撰文介紹過這一現象。

Today in Kinshasa, the Congolese capital, Nollywood permeates mainstream culture. Local women copy the fashion, makeup and hairstyles of the actresses; local musicians grumble at the popularity of Nigerian imports, like Don Jazzy and the P-Square twins.

如今在民主剛果的首都金沙薩，瑙萊塢全面影響着主流文化。當地的女性會效仿女演員的服飾、妝容和髮型。當地的音樂人會抱怨從尼日利亞輸入的音樂人太受歡迎，如唐·傑西(Don Jazzy)和雙胞胎組合P-Square。

Trésor Baka, a Congolese dubber who translates Nollywood movies into the local language, Lingala, said the films are popular because “Nigeria has succeeded in reconciling modernity and their ancient ways, their culture and traditions.”

把瑙萊塢電影翻譯成民主剛果當地語言林加拉語的配音演員特勒索·巴卡(Trésor Baka)表示，瑙萊塢電影受歡迎是因爲，“尼日利亞成功地把現代化和他們的古老歷史、文化和傳統融爲了一體”。