1. A few exceptions are Brian Larkin's bookSignal and Noise: Media, Infrastructure, and Urban Culture in Nigeria, which looks at the Hausa and English industries side by side; my own “Video Expose: Metafiction and Message in Nigerian Films,” which looks at both English-language and Hausalanguage metafictions; and Abdalla Uba Adamu's forthcoming article “Transgressing Boundaries: Reinterpretation of Nollywood films in Muslim Northern Nigeria,” which looks at Hausa re-makes of English language films. Krings has also looked at Hausa language films in relation to Tanzanian Swahili films (“Black Titanic”) and at reception of English language Nigerian films in Tanzania (“Karishika”). Though far less frequent, there has been some international journalism that looks at English films alongside the Hausa industry, including Pierre Barrot's 2005 volumeNollywood: le Phenomene video au Nigeria(published in English translation in2008) and the 2008 French television documentaryNollywood, le cinéma africain dans la cours des grands, both of which include substantial sections on the Hausa film industry.
2. Some scholars spell the term “Kanywood” as it was first spelled inTauraruwa; however, in the rest of this paper, I have chosen to follow the spelling “Kannywood” most often used in the popular media.