Available on JSTOR at: doi.org/10.2307/3334409

The cinema is a national pastime in the Cameroon, and shows run long hours to packed movie houses. Unfortunately, the two major companies which monopolize distribution are more interested in profits than in quality productions. A reaction to this situation has begun, however, with the creation of a new association, Film and Culture, which is trying to educate passive audiences by organizing cinema clubs and by introducing a film curriculum into schools. The production of Cameroonian movies remains almost non-existent, although J. P. N'Gassa's classical documentary, La Grande Case Bamiléké, did win a prize at the Dakar festival. Several young men, trained in Paris and belonging to the “new wave” generation of directors, do offer considerable promise. Among them are Urbain Dia-Moukouri and Jean-Pierre Dikongue-Pipa. The latter's most recent script, Le Banc de Sable, appears on p. 70.

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