Alasambom Nyinchuo

Curriculum Vitae

Centres d'Intérêts

Dr. Alasambom Nyingchuo is an Assistant lecturer of Theatre, Television and Film Studies at the University of Bamenda, Cameroon. He obtained his PhD in Cultural Sustainability in July 2020 from the Center for the Study and Promotion of cultural Sustainability (CSPCS), at the University of Maiduguri, Borno State, Nigeria. His doctoral studies were conducted under the tutelage of the SDG Graduate School ‘Performing Sustainability, Cultures and Development in West Africa’, between the Universities of Hildesheim (Germany), Maiduguri (Nigeria), and Cape Coast (Ghana). He is an actor, writer, filmmaker; and the current Secretary General of the Cameroon Film Industry (CFI) organization. His research interests include Theatre and filmmaking practices in Cameroon and Africa, Popular Culture, Applied Drama, Cultural Policy, Arts Management, Cultural Diplomacy, Cultural Sustainability, Community Development, Facilitative Leadership, Cultural Political Economy, and Digital Technologies and the Arts. He has published several journal articles and book chapters.

Institution

Université De Bamenda

E-mail

alasnyingchuo@gmail.com

Téléphone

670823851

Adresse

-
237,

Examining Socio-Cultural Practices Of Women’s Exclusion Through Film For Development In Nkom, North West Region Of Cameroon. (2020)

Kom is one of the principal ethnic groups of the North-West region of Cameroon, where traditional government institutions are very important, located in Boyo Division, approximately some twenty-five kilometres North of Bamenda, the North West Regional capital of Cameroon. Gender perceptions in Kom lay the foundation for a conflicting interplay that seriously affects the full development of the woman and the girl child. These perceptions are reflected in certain socio- cultural practices, which limit women’s access to community participation. This study set out to identify these practices, their impact on the life of the women, collect proposed solutions from the women elites, and traditional leaders; then use this data to do a community conscientization film. The ethnographic approach was adopted. The tools employed were participant observation, focus group discussions and Key Informant Interviews. The study revealed that practices of women’s exclusion in Kom can be classified into two categories: institutional- those endorsed by the traditional leaders in respect of the customs and traditions in place, and non-institutional- those against the customs in place and actively fought by the traditional leaders. While the institutional socio-cultural practices of women’s exclusion in Kom include poor access to land, and decision- making processes at the family and community levels, the non-institutional ones include dispossession of widows, high bride price, forced marriages and discrimination against the girl child in education amongst others. These practices of socio-cultural exclusion have contributed to silencing women’s voices, compelled women to stay in abusive marriages, forced widows to vacate their late husband’s estates and compelled other women to reimburse bride price collected on them after divorce, amongst others. As suggested solutions to overcome these practices of women’s exclusion in Kom; the most recurrent suggestions from respondents was that more women be included in village traditional councils, men should also give land to their female children, women be allowed to remarry after death of husband, and succession processes should involve the public authorities. The major recommendation of this study is that traditional leaders and elites in Kom should embark on a mass sensitization against the non-institutional socio- cultural practices of women’s exclusion. The governmentof Cameroon is also encouraged to initiate collaboration mechanisms with Kom traditional leaders especially for policing purposes.

Filmmaking In Cameroon: Renegociating Aesthetics And Entertainment. (2014)

Le cinema est un d'art, une source de divertissement et de valorisation culturelle. Cela fait du cinéma une activité multidimensionnelle et pluridisciplinaire car elle rassemble aussi des personnes de professions diverses et variées. Pour que le film réussisse comme un art, il doit obéir aux exigences esthétiques et de divertissement qui sont propres au cinéma. Dans le secteur du cinéma camerounais, qui connaît encore un début difficile pour les 30 dernières années, ces éléments au fil des années ont forgé une identité bien connue pour le cinéma camerounais, notamment à travers des films primés comme Pousse Pousse (1978) de Daniel Kamwa, L ' Eau de misère (1988) de Jean-Marie Teno, Sango Malo (1990) de Bassek Ba Kobhio, Quartier Mozart de Jean Pierre Bekolo, etc. Malheureusement, ces considérations esthétiques et de divertissement sont en forte régression telle que la plupart des films contemporains camerounais sont de plus en plus orientés vers les messages, avec peu d'attention à l'esthétique et au divertissement. Cela a rendu les films camerounais impopulaires, ce qui décourager davantage des investisseurs potentiels, qui préfèrent investir dans d'autres formes d'art et de divertissement qui jouissent d'une grande popularité dans le pays comme la musique, sports, etc. Ce travail se propose d'étudier les raisons de cette baisse des valeurs esthétiques et de divertissement des films camerounais et de proposer les voies et moyens par lesquels les cinéastes camerounais pourraient faire leurs films plus esthétique et ludique. Des recherches bibliothécaires et des recherches sur l‘Internet ont conduit à une compréhension plus profonde de l'histoire et l'évolution de la cinématographie au Cameroun, l'art du cinéma, l'esthétique du film et les fonctions des films dans la société. En utilisant les approches sémiotiques et pragmatiques, une analyse critique de quatre films camerounais: Quartier Mozart (1992) de Jean-Pierre Bokolo, Silence de la Forêt (2004) de Basek Ba Kobio, The great Obligation (2010) de Neba-Laurence et Pension(2011) de Nyincho Tum démontre des considérations esthétiques et de divertissement propres au cinéma camerounais, ainsi que leur baisse progressive au fil des ans. Le constat est que beaucoup de cinéastes camerounais d'aujourd'hui n'ont pas subi des formations formelles et donc ne maîtrisent pas les techniques et l‘esthétique du cinéma. Pour cette raison, la plus part des cinéastes Camerounais les plus récentes tendent à porter moins d'attention aux préoccupations esthétiques et de divertissement, de telle sorte que leurs oeuvres sont pas attrayants pour le public.

Titre	Catégorie	Encadreur/Éditeur	Année	Action
Examining Socio-Cultural Practices Of Women’s Exclusion Through Film For Development In Nkom, North West Region Of Cameroon.	Thèses	Sunday Enessi Ododo & Abubakar Mu’azu, University of Maiduguri	2020
Filmmaking In Cameroon: Renegociating Aesthetics And Entertainment.	Mémoires	Jacques Raymond FOFIE, Université de Yaoundé 1	2014