**1. Introduction**

Botswana's film industry has experienced significant growth over the past decade, with the emergence of talented filmmakers and the rising demand for home-grown content. The industry has played a crucial role in shaping Botswana's national identity and culture, and in promoting the country's tourism sector. The spreading recognition of digital platforms such as YouTube, can be a convenient and cost-effective means for filmmakers to distribute and monetize their content [1, 2]. In 2022, YouTube had over 1.5 billion monthly active users worldwide and has become one of

the most popular online platforms for sharing and viewing video content [3]. Despite the increasing popularity of YouTube as a platform for distributing and monetizing short videos and films, the platform's algorithmic bias presents significant limitations for content creators, particularly for those in developing countries like Botswana. This bias can limit the discoverability and reach of content, as well as its monetization potential [4]. As an emerging subject of interest to researchers, algorithmic bias has been defined at various levels. It can be viewed as a systematic discrimination of certain individuals, groups, or types of content by algorithms, which can lead to imbalanced opportunities and reinforce existing social biases [5–8].

It is evident that YouTube's policies, particularly those related to algorithmic bias and geo-restrictions, continue to attract global attention in scholarly literature and shape discourses among content creators and researchers alike [9–11]. The platform's algorithm, which determines the visibility and recommendation of videos, has been criticized for its inherent bias toward content that generates high watch time, audience engagement, and relevance of content. This bias can inadvertently limit the exposure of certain types of content, potentially hindering the growth and monetization opportunities for filmmakers. Scholars have highlighted the need for YouTube to address algorithmic bias and create a more inclusive environment for content creators [12, 13]. They argue that the algorithm should not solely prioritize popular or trending content but also consider the diversity of voices and perspectives. According to [14, 15], there has been a considerably fraught relationship between YouTube platform policy and other social groups such as lesbians, gays, bisexuals, transgender and queer communities (LGBTQ ), with visible censorship of content to some extent.

Although content creation comes in different shapes, filmmakers, especially those who come from the developing world, as identified in previous literature, continue to face various challenges to make a global impact; some stem from language and cultural barriers that ultimately add to an array of setbacks. These undoubtedly present the potential to heavily deter and limit their ability to explore the available avenues to showcase their creative content and generate revenue from it [16, 17]. Furthermore, the effects of the digital divide, where lack of access to modern content creation technologies and resources has led to the compromised quality of their productions, have also been cited by scholars. For example, studies conducted by [18, 19] revealed that several countries in sub-Saharan Africa still face the challenge of the lack of proper infrastructure, technical equipment, and intensive training required to produce their film content. In addition, the far-fetched access to creative industries and arts funding remains a significant hiccup to many filmmakers from these countries, which emanates from the limited resources, while at the same time having to compete for equal funding opportunities with those that already have enough access to resources [20]. Within these complex and interconnected challenges, scholars continue to suggest a manifold approach to addressing them. For example, they suggest pragmatic reach-out programs and networking initiatives such as organizing local and international film festivals and developing and funding programs that aim to promote the filmmaking craft from developing countries. With the help of platforms such as YouTube as a content distribution platform, it is envisaged that this could boost their exposure and access to funding [21, 22].

By broadening the scope of recommended content, YouTube can provide a platform for underrepresented filmmakers in developing countries like Botswana to showcase their work and reach a wider global audience. Correspondingly, the issue of geo-restrictions poses a challenge for filmmakers in Botswana. YouTube's policies that restrict access to certain features, such as monetization through the Partner Program,

*Unlocking Monetization Potential in the Age of YouTube Algorithmic Bias: An Analysis… DOI: http://dx.doi.org/10.5772/intechopen.113306*

based on the user's geographical location have been identified to catapult this cultural underrepresentation [23–25]. Given the above, not only does this restriction affect the content's global reach, but it can hinder, the ability of Botswana filmmakers to generate revenue from their content and impede their growth within the platform. Therefore, by examining the impact of algorithmic bias and geo-restrictions on filmmakers in Botswana, this study aims to contribute to the existing literature and provide potential strategies for overcoming these limitations.
