An explosion of Hausa popular fiction writing in Nigeria, from about 1987 onwards, was mirrored in an even greater growth in Hausa video film production from the mid-1990s onwards. A range of themes, reflected in the imagery of book covers, has been dominated by issues concerning the roles of women and the relations between men and women in this predominantly Islamic society, leading to a continuing debate both about Hausa society and about the morality and value of such forms of cultural production. The paper traces the ideological transformation of the stereotypical identities of bora and mowa, the unfavoured and favoured wife, as they move from genre to genre—from tale to play to novella to video film