Overview

Since 1988, the year of the promulgation of a law on the orientation of cinematographic activity in Cameroon, a law marked by originality and fulgurance in a difficult political context, the social dynamic has favoured the updating of the legal and regulatory framework in many sectors, including those close to the audiovisual as a media-television system (in 2015 in particular), but the cinema as a specific art dedicated first and foremost to the cinema hall has been neglected.This essay elaborates on the real stakes of a strategic re-reading of the Cameroonian State's policy on cinematography, which ends up touching the great whole called ""cultural policy"".

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