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Winner of the Society for Cinema and Media Studies, Media Industries Scholarly Interest Group Outstanding Book Award

The slogan “Lagos shall not spoil,” found in print media, political campaigns, and common conversation, represents a shared expression of the optimism the city embodies. However, on city streets the phrase also appears scrawled in irreverent variations—“Lagos cannot spoil more than this!”—that meet the frustrations of city life with irony. In both cases, the slogan captures the resilience and persistence with which residents of Lagos live on, despite it all. This book examines the circumstances that make it possible for residents to persist in pursuing their various projects and for the city to remain a platform that supports these projects and creates space for even more to emerge. Author Connor Ryan argues that residents continually work to combine contingency and endurance in opportunistic ways that make the city work for them, and as such, Lagos never spoils: it endures.

What makes Lagos remarkable is what residents have made of it, and Nollywood—the industry and the body of films—both embodies and represents this continual urban transformation. Lagos Never Spoils traces how Nollywood arose from the social milieu of Lagos and, in turn, generates a repertoire of stories, images, styles, and sentiments with which audiences come to grips with city life. The book traces the evolution of the screen media industry in Lagos and explores how this corresponds with historical phases in the city’s representation onscreen. It discusses important urban spaces of production and consumption, including historic movie halls, video marketplaces, film sets, and multiplex cinemas. Across six chapters, it attends to celluloid films about oil-boom wealth, television sitcoms about urban tricksters, video melodramas about urban crisis, glossy romantic comedies about young professionals, and dark thrillers on streaming platforms about the pleasure of moral transgression. In this fashion, the book offers new approaches to the interpretation of screen texts produced in and about Lagos, a place that is today the most influential image of West African city life.

In 2003, Olufemi Vaughan received from his ninety-five-year-old father, Abiodun, a trove of more than three thousand letters written by four generations of his family in Ibadan, Nigeria, between 1926 and 1994. The people who wrote these letters had emerged from the religious, social, and educational institutions established by the Church Missionary Society, the preeminent Anglican mission in the Atlantic Nigerian region following the imposition of British colonial rule. Abiodun, recruited to be a civil servant in the colonial Department of Agriculture, became a leader of a prominent family in Ibadan, the dominant Yoruba city in southern Nigeria. Reading deeply in these letters, Vaughan realized he had a unique set of sources to illuminate everyday life in modern Nigeria.

Letter writing was a dominant form of communication for Western-educated elites in colonial Africa, especially in Nigeria. Exposure to the modern world and a growing sense of nationalism were among the factors that led people to begin exchanging letters, particularly in their interactions with British colonial authorities. Through careful textual analysis and broad contextualization, Vaughan reconstructs dominant storylines, including themes such as kinship, social mobility, Western education, modernity, and elite consolidation in colonial and post-colonial Nigeria. Vaughan brings his prodigious skills as an interdisciplinary scholar to bear on this wealth of information, bringing to life a portrait, at once intimate and expansive, of a community during a transformative period in African history.