1 Introduction

This chapter describes the struggles that Kannywood has faced since its inception, including religious, cultural, and linguistic contestations and negotiations. The Shari'ah law and censorship board in Kano have had a significant impact on the filmmaking industry, leading to arrests and imprisonment of artists and restrictions on film content. Additionally, the contentious relationship between cinema and religious institutions in Nigeria has created uneasiness and hostility. Despite these challenges, Kannywood continues to thrive, with some cinemas operating in the outskirts of the city.

2 Modernity truncated: cinemas resurface, but…

This chapter describes the changes in Kano cinema culture brought about by the construction of modern shopping centers with multiplex cinemas. However, despite the opening of new cinemas, many Kannywood films struggle to be shown on the big screen due to technical and financial challenges. Filmmakers face unattractive deals with cinema management, leading to some films being released directly to the public or shown for only a short period of time. Efforts were made to show films in older cinemas during Eid festival, but the audience did not patronize them. The new cinema, Platinum, faces similar challenges, with little change to the market. Furthermore, Kannywood producers struggle to make significant profits, driving them to explore other platforms to sell their movies.

3 Kannywood market: a sanctuary for romance,religion, sex and crime?

This chapter describes Kannywood's shift from VHS and DVDs to mobile devices and online platforms for film viewing, and the impact of the COVID-19 pandemic on this shift. It also discusses the rise and fall of video-on-demand (VoD) platforms in Kannywood, and their struggle to survive in an unfriendly market. The chapter delves into the challenges faced by Kannywood filmmakers in attempting to use free-to-air television stations and the censorship struggle that involved Arewa24. The relationship between the YouTube Hausa filmmakers and their audiences is explored, and most Kannywood filmmakers have migrated to YouTube as it offers a better solution than television stations, cinemas, or VoDs. The traffic of YouTube as a website and the availability of YouTube Video Streaming Packs in Nigeria are also highlighted.

4 YouTube genres

This chapter discusses the emergence of Kannywood films on YouTube, exploring various genres and channels that have gained popularity in the industry. It specifically focuses on successful dramas like Izzar So and A Duniya, as well as comedic channels like Mazaje Ne and Jahilin Malami. The chapter delves into the content, reception, and financial success of these channels, shedding light on their impact and influence within the Kannywood film industry.

5 Discussion

Scholars have discovered that as Muslim-Hausa northern Nigeria has tabooed several topics related to sex, death, and body parts, the emergence of popular culture has thrown the region into a severe moral panic. Religion is a significant topic both Kannywood and Nollywood filmmakers explore significantly. Films in Nigeria and Ghana become blockbusters and the talk of the town when they feature a strong emphasis on the defeat of evil spirits by God. The collaboration between Mazaje Ne and Jahilin Malami Comedy and others seems to work best for them. However, the last rope the others seem to hold onto is the adverts they get. The ongoing trick may not work well for these filmmakers in a few years. VoD and cinema are their best platforms for survival. Netflix released the much-awaited and hyped biopic Amina, based on the 16th-century Zazzau empire warrior Queen Amina. Many northerners, especially Hausa-Muslim people, complain about and point out possible historical errors and “distortions” in the film. It is high time Kannywood filmmakers and their viewers started exploring their rich history and culture in their movies.

6 Conclusion

The Coronavirus lockdown worsened existing challenges for the Kannywood film industry. In response, practitioners turned to YouTube channels, creating religious, crime, and sexually alluring content to appeal to their audience. They also engaged in product advertisement and political campaigning. However, they continue to struggle with piracy, market congestion, competition, and other difficulties. It is suggested that they embrace cinema and VoD platforms, upgrade product quality, and explore captivating stories. Kannywood has untapped potential, but they must move away from repetitive and trivial themes. Collaboration and unity are necessary for the industry to break into international platforms such as Netflix and Amazon Prime.