Samantha Iwowo

Dr Samantha Iwowo

  • Lecturer In Directing Drama For Film And Television
  • Weymouth House W210, Talbot Campus, Fern Barrow, Poole, BH12 5BB
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Biography

Filmmaker, Samantha Iwowo, is a screenwriter and director who commenced her career as a commissioned screenwriter with South Africa’s largest cable network, M-Net, writing several episodes of the daily drama series, Tinsel (2008 – present), from 2013 to 2014. She has written fifty published screenplays. These include the internationally celebrated feature Oloibiri (2016): Made in collaboration with Student Emmy and Academy awards winning director, Curtis Graham, it premiered at the Cannes Film Festival, in 2015. Her most recent screenplay, The Tyrant (2019), is a biography on Zimbabwean dictator, Robert Mugabe; commissioned by Theatron Media Inc., Canada, it stars British-Nigerian actor, Hakeem Kae-Kazim and is due for release in summer, 2019. She has also directed four films; her works often situate within themes of postcolonialism, and transnational cinema. Her most recent directorial piece, Go Get Milk, is due for release in the first quarter of 2019. This is an advocacy piece on the teenage knife-crime incidents in South-East London...

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Journal Articles

Films

Artefacts

Invited Lectures

  • Birkbeck, University of London, 25 Nov 2019 more
  • "Nollywood as a 'World' Cinema", University of Bristol, 14 Nov 2019 more
  • The Poetics of Mise en Scène, Nigeria, 08 Nov 2019 more
  • Nollywood: From Whence We Came, London Southbank University, 01 Dec 2017 more
  • Production Patterns of Neo-Nollywood, University College London, 15 Mar 2017 more

Public Engagement & Outreach Activities

  • Topic: "Nollywood Audiences and Human-Rights Films". Against the backdrop of the song, “Sorrow, Tears, and Blood” (1977) by Nigerian Afrobeat legend, Fela, I underline habitual patterns of audience apathy to subjects of rights in Nollywood films. For this purpose, I screen extracts and discuss OCTOBER 1 (dir. Afolayan, 2014), and OLOIBIRI (dir. Graham, 2016), for which I wrote the screenplay. Herein, I also review the book chapter by Omoera (2019) titled “Human Rights Issues in the Nigerian Films, October 1 and Black November”, in African Cinema and Human Rights, an Indiana University monograph publication edited by Hjort and Jørholt. The aim of the presentation, ultimately, is to submit that the propensity of escapism in typical Nollywood audiences suggests an unconscious resistance to films potential for stoking agitations against the abysmal living conditions in oil-rich Nigeria. With references to the selected film, music and text, I illustrate how this apathy stems from a consciousness of the menacing realities of the - sometimes fatal - harassments that characterise the terrain of rights' activism in Nigeria.
  • The discussion, “R.U.N.S: A Film Screening and Discussion”, was presented at the seminar, ArtoP: The Visual Articulations of Politics in Nigeria, which is part of a BU research project in collaboration with SOAS, Bayero University, the University of Lagos, and the University of Wisconsin. Along its vision of capturing how still and moving images construct and articulate political ideas, positionings and discourses on Nigerian politics, I screen and discuss excerpts of RUNS (2016 - ongoing), a docudrama series I created in collaboration with Nigerian director, Benedict Alli, for which I also produce and write the screenplay. In framing the exponential rise of prostitution amongst students of tertiary institutions in Nigeria, in this presentation I underscore how Nigeria’s political rulership and elitist proclivities nurture, perpetuate and exploit financial and cultural poverty.
  • The paper, “An Introduction to Rage”, extracts motifs of racial-imposter complex in RAGE (1999), directed by Newton Aduaka. As part of the film’s curation by Dr. Jacqueline Maingard, the paper was presented during the 2017 edition of the project, Africa’s Lost Classics, funded by the Arts and Humanities Research Council (AHRC). It unpacks the often-unnoticed debacle of the average mixed-race male in working-class London, grappling with fractured masculinity and identity crisis primed by situations unlimited to single-parenting, racial micro-aggression and racial alienation. While tendering the causal link between these socio-cultural contexts and character flaws, this paper underscores how the director, Aduaka, fosters ongoing conversations about theories of bi/multiracial identity development. Emphatically, through the life of the protagonist, Rage (same name as the film), the audience is invited to the hidden world of a sliver of Africans, located in a traumatic in-betweenness constructed and perpetuated by (perceptions of) rejection by (un)conscious racism, which gate-keeps the dual/multiple races to which they belong.
  • Topic: "Nollywood Audiences and Human-Rights Films". Against the backdrop of the song, “Sorrow, Tears, and Blood” (1977) by Nigerian Afrobeat legend, Fela, I underline habitual patterns of audience apathy to subjects of rights in Nollywood films. For this purpose, I screen extracts and discuss OCTOBER 1 (dir. Afolayan, 2014), and OLOIBIRI (dir. Graham, 2016), for which I wrote the screenplay. Herein, I also review the book chapter by Omoera (2019) titled “Human Rights Issues in the Nigerian Films, October 1 and Black November”, in African Cinema and Human Rights, an Indiana University monograph publication edited by Hjort and Jørholt. The aim of the presentation, ultimately, is to submit that the propensity of escapism in typical Nollywood audiences suggests an unconscious resistance to films potential for stoking agitations against the abysmal living conditions in oil-rich Nigeria. With references to the selected film, music and text, I illustrate how this apathy stems from a consciousness of the menacing realities of the - sometimes fatal - harassments that characterise the terrain of rights' activism in Nigeria.

Conference Presentations

  • Researching Africa Day, Conference; University of Oxford, 'Neo-Nollywood: Exploring the Cinema Movement through Tripartite Lenses', 04 Mar 2017, Oxford

Networks

  • ORCID ID: https://orcid.org/0000-0002-1482-8269
The data on this page was last updated at 04:19 on March 30, 2020.