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30Mar
Restore order, get back to us – gov’t officials tell filmmakers
Ernest Kanjo PDF Print E-mail
Monday, 30 March 2015 00:14


cfi tiptopstars

Cameroonians who practice the craft of filmmaking have been enjoined to restore order in their ‘house’ and present themselves as an organized group. It is only by doing so, that the government of Cameroon can concretely react to their numerous, yet salient requests. This call, described by observers as highly warranted and within film circles as timely, came from the Regional Delegate of Culture for the South West, Ngo Grace and endorsed by the Director of Cinematography in the Ministry of Culture (MINAC), George Madiba during the latter’s visit to Buea recently.

The officials explained that it doesn’t take the government much to provide filmmakers’ needs but in a context where they are not properly organized, it becomes a little difficult to forge ahead.

Consequently, head of various guilds currently functioning under the banner of the Cameroon Film Industry, CFI are scheduled to meet with the Director of Cinematography, not later than April 3, to fix a date and start planning for a General Assembly of the organization. The said GA has been a boiling issue for a while now and members of CFI hold that it is at this meeting that the current position of the organization will be defined.

During the meet-the-filmmakers rencontre, Ngo urged filmmakers to put pen to paper, come out with projects proposals and stories that are captivating enough to attract government support. They can only be seen to be serious and help provided if they did that, she explained.

In spite of this assurance from the regional delegate, CFI Board chair, Otia Vitalis Suh frowned at the government, via the Ministry of Culture for still feet-dragging in assisting the film industry. The Yaounde-based syndicate boss cum actor outlined some clear-cut achievements of the industry and announced that upcoming fare will be highlighting more that has happened within the sector. However, to make more in-roads, the industry needed government’s quota.

Other concerns raised at the Buea meeting were the lack of regular/permanent space to report film-related stories in the national daily, Cameroon Tribune and adequate airtime on the national broadcaster, CRTV and other privately-run TV stations across Cameroon.

George Madiba assured the filmmakers that MINAC will step in to look into these issues and more.

During the meeting, heads of the various guilds were officially presented to the Yaounde official including Angu Elizabeth (Producers’ Guild of Cameroon - PGC), Molimi Cletus (representing the Directors’ Guild of Cameroon – DGC), Kesha Kena Emmanuel (National Actors’ Guild of Cameroon – NAGCAM), Yibain Emile-Aime Chah (Technicians Guild of Cameroon - TGC), Etiendem Romanus (Writers’ Guild of Cameroon – WGC) and Ngwana Edmond (representing the Marketers’ Guild of Cameroon – MGC).

The meeting was also marked by film projects and visits to the Buea Film Academy (BFA) and Lambert Ndzana Institute (LNI) which are two prominent film training outfits.

The recent visit of the Director of Cinematography at the Ministry of Culture to Buea comes at a time the Cameroon Film Industry is in dire need to win prominence within the Cameroonian society, unlike its Nigerian and Ghanaian counterparts that have become leading sectors in their respective economies. Movies done in the country are desperately seeking exposure through a market that has stubbornly refused to show up, at least for now. Rather than rely on the intellectual resource of foreign experts, Cameroonian filmmakers have opted to take the bull by the horn, defy all odds and make their voices heard. This, according to them, could only be successful if all stakeholders including the tutelary body, MINAC lends it support.


Last Updated on Monday, 30 March 2015 16:02
 
27Mar
New movie: The Flaw chides irresponsible love bonds
Ernest Kanjo PDF Print E-mail
Friday, 27 March 2015 19:10


onyeka tiptopstarsWhile The Flaw was being awaited, anxious potential viewers TIPTOPSTARS spoke with explained that Chris Onyeka was such a fine and refined filmmaker to the extent that his works are always exemplary. “He knows his craft, reason why his end results are masterpieces,” a popular TV host cum actress who preferred to simply go by Cybote, said this of the Nigerian movie guru. She had had some working experiences with Onyeka in Boston, Massachusetts, prior to the filmmaker’s relocation to Texas.

Other featuring actors in the movie told us they were still excited and anxiously looking forward to savouring the movie, whereas, they lived the great moments of its production. “I feel like an ordinary viewer who is waiting for the next movie of their model director – I just can’t wait,” one of them told us.

Behold, such positive positions have not changed, since The Flaw hit public space, officially on March 22, 2015. Its viewers so far, have given The Flaw a pass mark. “And this is thanks to the entire cast and crew, but I must still laud the ingenuity of the movie’s writer and director, Chris Onyeka. He made it happen,Edith Pikwa, one of The Flaw’s lead characters told this writer. According to the Dallas-based actress, The Flaw is one of the most exciting stories she has done in her performing arts career this far. “And I must confess that it has influenced my career, I learned quite much from this production and very proud to have been part of it,” she told us.

On her part, Yvonne Jolie who plays “Instinct” explained that the role is quite challenging, but that to the actress, means a lot to her experience in the art. “I enjoyed doing my advisory role and it made me feel like it was a real situation,” she said. The actress cum fashion specialist endorsed the storyline and recommended The Flaw for whoever is yet to watch the 109-minutes long movie, now discussed with much interest within African film circles in the United States.

Shot on locations in Dallas, Texas, The Flaw address the salient issue of irresponsible relationships with clear lessons to learn at the end. It is crafted with the artistry of a cream of fine USA-based African actors including Edith Pikwa, Mohammed Bah, Carl Payne, Yvonne Jolie, Bless Brown, Beatrice Nwana, Clarry Otieno and Kiss Uloma. The Flaw (English) is produced under the banner of Ocene Movies and directed by Chris Onyeka with Mike Westt as Director of Photography (D.O.P). Producers say the movie could be watch online at http://theflaw.vhx.tv/ for a very minimal cost.


 
03Mar
“No more discrimination against Cameroonian actors on mixed-casts sets!” - Terence N. Limona, NAGCAM-USA President
Ernest Kanjo PDF Print E-mail
Tuesday, 03 March 2015 19:39


 “No more discrimination against Cameroonian actors on mixed-casts sets!”  - Terence N. Limona, NAGCAM-USA President Dust is yet to settle on the February 28, 2015 polls that brought on board some fresh people to henceforth pilot the affairs of the National Actors’ Guild of Cameroon that goes by its popular acronym NAGCAM. Kesha Kena Emmanuel and Terence N. Limona, respectively Presidents of NAGCAM and its USA branch have since Saturday last week been receiving congratulatory messages from friends and film industry folks. These words of kudos have however been coming alongside those that enjoin the new leaders to bear the flag of the guild with a lot of courage, yet genuineness which stand clear as the most urgent and desired ingredients needed for the sector be competitive. From initial observations, satisfaction seems to be the general order that characterizes the current atmosphere and actors are individually and collectively hoping the recent change comes along with good tidings. To them, there is no room for repeated errors which are generally known to clip the guild’s wings. “We must start flying – the time is now, not tomorrow,” a performing arts enthusiast and member of NAGCAM told TIPTOPSTARS as she feted the putting in place of a new bureau. In the USA, members of the guild have since been applauding themselves for a highly celebrated consensus which they now describe as an indication of maturity. The said consensus was the result of an election that brought to the NAGCAM-USA branch, people whom the entire house had longed for, to transport their aspirations to the wonderland. Before she got the spot of Public Relations Officer, Texas-based actress Edith Pikwa had already engaged in an image-marketing course for her group and does not find her job description strange. To the 2014 Golden Icons Movie Academy Awards (GIAMMA) nominee, Cameroonian actors deserve more exposure than has been the case and she was more inspired to do it now than ever. Meantime, Nathalie Bih who got the Treasurer position has been a NAGCAM-USA addict, always poised to contribute to the development of the group. But like mentioned in an earlier report, Terence N. Limona, elected unopposed to the post of NAGCAM-USA president, is film syndicate by blood and bone. He has traversed every moment, thick and thin, within the organization with relentless commitment and it’s only logical that he should pursue the course to fruition. Soon after Saturday’s election, TIPTOPSTARS contacted the new NAGCAM-USA boss. From his Houston-Texas abort, Limona spoke with Editor Ernest Kanjo. Excerpts!

Ernest Kanjo (EK): What was your immediate reaction when you were pronounced President of the Cameroon Actors’ Guild – USA?

Terence N. Limona (TNL): I was humbled, and I hope my work will meet their expectations of members of the guild.

EK: Three other ladies of the guild were voted, making your bureau which is now a predominantly female one with you as the lone gentleman. Does that make you scared?

TNL: Scared? No! I’m rather inspired by that because it is quite easy to work with women. Beatrice Nwana, the Secretary General, Nathalie Bih, the Treasurer and the Public Relations officer, Edith Pikwa are very hard working and resourceful ladies who can be counted upon. As we speak, they have already started working and this is proof of the fact that women are serious workers. I’m quite satisfied with the team.

EK: What is the first thing you intend to do to carry the actors’ movement forward?

TNL: The constitution is primordial. We will have to work on this document and fine-tune it to a generally acceptable level. This document will define our onward steps and without it, there is little we can do.

 

EK: Identifying Cameroonian actors living in the USA is certainly a herculean task, yet you need a database to start off with. Do you intend to handle this area and how soon?

TNL: We had already started working on indentifying Cameroonian actors who live and practice the art in this country. Each day, we get more contacts and try to reach and advise them to be part of the guild. Just give us a little more time to be able to assemble material and we would be inviting you soon to give you some statistics on that.

EK: Just like back home, Cameroonian actors in the USA have complained about the back seat they are made to occupy when they are cast alongside Nigerian or Ghanaian actors. Are you already nursing ideas on how to tackle this?

TNL: I’m an actor and have worked on several sets with our counterparts of other countries and even film cultures. Before I became the guild boss, I had had this issue on mind and my prayer has always been to have an opportunity to address it someday. Yes, we will look into this issue and ensure that Cameroonian actors are placed side-by-side with their counterparts of other countries in every production. Equality in every aspect is what we yearn for and I’m going to table my ideas for the entire house to look into. But the bottom line is that there’ll be no more discrimination against our actors on mixed cast sets.

EK: Unlike in Cameroon, Cameroonian actors in the USA barely have time to practice because of usually tight schedules. This literally affects their output. Do you see this as an issue you may have to look into?

TNL: Oh sure! But first, I think nobody will ever have enough time – it did not happen yesterday, it is not today, it will not tomorrow. But, if we have chosen an activity as our passion and we passionately love it, then, we have to simply devote time for it. Excuses may not help us that much. I’m a go-getter and operate as such. Our actors need to devote time to acting and not succumb to other interferences.

EK: You are taking up the lead position of the NAGCAM-USA at a time many current members are not active and many more have decided not to belong, at least for now. You definitely have a huge task to that effect?

TNL: I would be joking if I say the task isn’t huge Ernest! It definitely is! Getting members adhere is a major challenge. Perhaps, the best way to go about it is to make the guild a place to like, a place to find comfort and a place to find benefits. I have all of these in mind and hope that my reforms will be so soothing and attractive for any actor to afford to miss. God willing, we will make the guild a home for everyone.

EK: What kind of relationship do you envisage to have with the mother group in Cameroon – have you spoken with Kesha Kena Emmanuel yet?

TNL: It will a relationship of understanding and vision. It will be a relationship of exchange of ideas and support for each other. We will work in constant collaboration and make sure we are on the same page at every given moment. I see a one and united NAGCAM. We just took office and will have to do a lot of communication. So far, I and Kesha Kena Emmanuel, the new President of NAGCAM have just been sending messages of congratulations to each other. We will eventually create a forum to talk at length and lay the groundwork.

EK: Terence Limona is known to have worked a great deal with Nigerian actors and filmmakers. How do you hope to use this relationship to the benefit of your guild?

TNL: For now, my focus is Cameroonian actors. My task is to lead the group in building itself. Cameroonian actors need to be branded. Without any complex, we have brilliant actors who are capable of pulling the strings. So, we are on our home work now. Eventually, I may use my relationship with some of the Nigerian actor friends I have for some experience sharing motive, but for now, my focus is Cameroonian actors.

EK: Registration of members is definitely a problem you are inheriting from your predecessors. Any plans to tackle this?

TNL: Yes! The answer is simple and I have said it earlier. Work, work and work! From the results of hard work, actors will not only belong, but will belong by actually registering. I’m confident that problem will be solved.
EK: Thank you Terence for talking to TIPTOPSTARS
TNL: It’s my pleasure Ernest! We are open, get to us at anytime if you need information.


Last Updated on Tuesday, 03 March 2015 19:42
 
16Jan
New: Dadson decries hate in hit single
Ernest Kanjo PDF Print E-mail
Friday, 16 January 2015 01:43

Akongne TIPTOPSTARS

Just like a born all-round artist who would jack in every area of art, yet would master all, Dadson is clearly living by this assertion. Proof – his works! A close aide of the Bamenda-based artist with whom Dadson has worked on several movie sets told TIPTOPSTARS that the latter’s know-how in music is a direct representation of his talent in acting. “He is a good actor and a brilliant singer every producer would love to work with again and again,” the Dadson aide said. “His latest single is not a surprise to us. We have always known and admired him for his singing prowess,” he told us.

Akongne, the said single track, just released is now fast turning into some lovable piece fans of Afro-styled zouk won’t like to part ways with so easily. It is a masterpiece! “I wrote this song because I’m really concerned and disturbed about the unjustifiable hate that is displayed amongst people,” Dadson explained in an interview with TIPTOPSTARS. “We need to love each other, show respect, work together for the benefit of all a sundry. That is the message I’m passing across in Akongne.”

Written and only recorded two years later at the CJ Productions studio in Bamenda, headquarters of the North West region of Cameroon, the 3.47-minutes-long track is a beautifully cut piece which is self-produced by the author with Akuchu Edgar aka AK of Edgar Expression as sound engineer.

At its remote stage, the song had actually been performed at an annual song competition organized by a renowned local brewery outfit. “I did not win though, but the dreams of producing the track were kept intact,” said Dadson.

Meantime, Dadson got into music through a choral group 13 years ago. It was in 2009 that the young singer cum actor decided to go professional with music because he had seen a lot happening around him and so thought it was time to start interpreting it into the art he knows best.

With the Cameroonian jazz icon Richard Bona and RnB don R. Kelly as role models, Dadson hopes to hit the apex in music. He works closely Adah Akenji and J Boy. For more information, Dadson and team could be contacted via (237) 675789579 or (237) 675749019 or (237) 699692319.


 
20Dec
“We need constitution, not production code!” - Akim Macualey, CFI Constitutional Committee head
Ernest Kanjo PDF Print E-mail
Saturday, 20 December 2014 07:58


akim tiptopstars

The head of the Constitutional Committee of the Cameroon Film Industry (CFI), has said the organization should and will go by the name “constitution” and not the “production code”. Production code which was initiated as a set of film industry moral censorship guidelines should exists, but must be embedded within a constitution – the latter here being a body of fundamental principles or established precedents according to which an organization is acknowledged to be law.

Akim Macaulay was reacting to the recent confusion that is hovering around the document that should govern CFI. Speaking to Afrikka Radio’s African Cocktail with Ernest Kanjo, the USA-based filmmaker insisted that the constitution is an encompassing document and a production code could only appear as a clause or section in it.

In a well researched explanation, Akim who doubles as diaspora representative of CFI told the mid-week radio show that the production code dates back to the 1930s when one of Hollywood’s chief censor Will H. Hays propounded it. The code had governed the world’s number one film outfit till the 60s when it was abandoned. It may sound strange to contemporary filmmakers, but Akim recalled that Cameroon had used the production code as a guideline document for filmmaking activities. The said production code was even found in the penal code. However, it cannot be equated to a constitution, the filmmaker made it clear.

But, if CFI wants to call it a production code with aspects of both documents in it, the filmmaker told us, the organization could go ahead and do that. “Is that however going to please everyone?” he questioned. And even when the name “constitution” is finally adopted, it is neither everyone who will be satisfied. To an extent, he said, “we are only playing with words and making something out of nothing.” To Akim, there is no reason why any argument on the constitution and a production code should even prop up. But from definitions and background knowledge, the CFI stalwart saw much more reason in insisting that a constitution was the right nomenclature for the organization.

As we write, there are two guideline documents which are supposed to be under scrutiny – a constitution and a production code. The former was drafted in the days of the CFI interim bureau led by Wa’a Nkeng Musi. When a new Board of Directors (BOD) was voted to office in March 2013, it was handed to an Akim Macaulay-led Constitutional Committee for revision. 22 months on, the feedback is still expected. Meanwhile, Yibain Emile-Aime Chah aka Ancestor, one of the members of the BOD, out of personal initiative, has been voluntarily crafting a production code for CFI. He has severally expressed dismay why the organization is feet-dragging on the code.

Recently, members of CFI including the head of the Constitutional Committee have taken interest in Yibain’s production code and expressed their willingness to read it and see how it could be conveniently merged with the constitution.

According to Yibain who has been a custodian of the production code, the taking into consideration of this document would go a long way to address some of the issues that have been recurrently clipping the progress of the industry. Even more serious is the fact that CFI has never had an officially adopted constitutional since the organization was created in June 2008.

The pressing need for a constitutional amendment and an official adoption comes at a time a new controversy is rocking the smooth running of CFI – the change of name to CFI Inc. with the recommendation of the government through the Ministry of Culture. Whose constitution or production code is it going to be – CFI or CFI Inc., is a question that will only be answered as time unfolds.



 
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