REPUBLIQUE DU CAMEROUN REPUBLIC OF CAMEROON

Paix-Travail-Patrie Peace –Work- Fatherland

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MINISTERE DES MINISTRY OF SECONDARY EDUCATION
ENSEIGNEMENTS SECONDAIRES --------------------
-------------------- INSPECTORATE GENERAL OF EDUCATION
INSPECTION GENERALE DES ENSEIGNEMENTS --------------------
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PROGRAMME OF STUDY FOR CINEMATOGRAPHIC ARTS

SECONDARY GENERAL EDUCATION
LOWER SIXTH

Weekly workload : 11
Coefficient : 06

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 REPUBLIQUE DU CAMEROUN REPUBLIC OF CAMEROON
Paix-Travail-Patrie Peace –Work- Fatherland
-------------------- --------------------
MINISTERE DES MINISTRY OF SECONDARY EDUCATION
ENSEIGNEMENTS SECONDAIRES --------------------
-------------------- INSPECTORATE GENERAL OF EDUCATION
INSPECTION GENERALE DES ENSEIGNEMENTS --------------------
--------------------

DECISION No................................../MINESEC/IGE OF ...............................................

Defining programmes of study for the Lower Sixth class of Secondary General Education

THE MINISTER OF SECONDARY EDUCATION,

Mindful of the Constitution;
Mindful of Law No. 98/004 of 14 April 1988 on the Orientation of Education in Cameroon;
Mindful of Decree No. 2011/408 of 09 December 2011 on the organising the government;
Mindful of Decree No. 2011/410 of 09 December 2011 forming the government;
Mindful of Decree No. 2012/267 of 11 June 2012 organising the Ministry of Secondary Education;
Mindful of Decree No. 2018/191 of 02 March 2018 reorganizing the government;
Mindful of Order No. 227/18/MINESEC/IGE of 23 August 2018 redefining the series and subjects of the second cycle of Secondary General
Education, and amending certain provisions of Decision No. 834/G/49/MINEDUC of 02 July 1974 fixing the workloads for secondary general
education schools, as well as the provisions of Circular Letter No. 50/D/34/MINEDUC/IGP/ESG of 03 October 1988 reviewing the coefficients
assigned to the subjects of secondary general education,

HEREBY DECIDES
Article 1: The Programmes of study for cinematographic art for the Lower sixth class of Secondary General Education are defined as follows:

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1. General profile

Political speeches and steering documents of the Cameroon education system have defined the "product" expected from the system.
Secondary education, in this case, must offer quality training to Cameroonian schoolchildren to prepare them to integrate into the socio-economic
fabric, to become vectors of development and producers of goods and services. This is the rationale of the syllabus review on-going in the Ministry
of Secondary Education. This review has indeed extended training possibilities to the Cameroonian youth, notably, the introduction of the
"Cinematographic Arts" sector, thus taking into account the predominance of the image in all its forms in the cultural practices of young people, as
in photography, television, video, internet, cinema, etc.

In short, it is a question of honing the learners' skills in the critical appreciation and appropriation of the image, introducing them to the most
varied techniques, making them aware of the cinematographic heritage and exposing them to contemporary art. Also, film teaching is a
springboard to the professionalization of teaching thanks to the training that is compatible with socio-economic demands. Indeed, the cinema
industry is a potential provider of many direct and indirect jobs (actor, scriptwriter, film and sound recorder, boom operator, director, editor, props,
lighting designer, make-up artist, etc.)

The purpose of introducing cinema in the Cameroonian educational system is to produce learners who are intellectually, cognitively, emotionally
and psychologically balanced, capable of innovative and creative thinking, critical reflection and displaying, among other things, personal and
communicative skills, as reflected in this UNESCO declaration: “The benefits of introducing the arts (including cinematographic art) and cultural
practices into learning environments showcase a balanced intellectual, emotional and psychological development of individuals and societies. Such
education not only strengthens cognitive development and the acquisition of life skills – innovative and creative thinking, critical reflection,
communicational and inter-personal skills, etc. – but also enhances social adaptability and cultural awareness for individuals, enabling them to
build personal and collective identities as well as tolerance and acceptance, appreciation of others. The positive impact it gives on the development
of societies ranges from cultivating social cohesion and cultural diversity to preventing standardization and promoting sustainable development.”

1. Specific profile

The table below shows the skills to be acquired by the learner during and at the end of their training.

Class Core competences (Intermediary) Generic contents/resources

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 Lower Six Read a film a) history of cinema;
b) elements of cinematographic language and
grammar;
c) film tools and jobs.

Write a script a) cinematographic genres;

b) film analysis;
c) the economics of cinema.

Upper Six Produce a cinematographic work a) the film making process;

of art of 3 to 5 minutes b) end-of-training project;
c) the sociology of cinema.

The Lower Sixth Programme of study focuses on the implementation of basic skills Nos. 1 and 2, "reading a film" “and script writing”. This
competence makes generic use of the following resources: "history of cinema", "elements of cinematographic language and grammar" and" tools
and jobs in the of cinema industry". The thoughtful and timely mobilization of resources from these varied fields will make the student leaving
Lower sixth form a competent image "communicator" and a seasoned reader of film products. The "read a film" competence is exercised within
the context of the families of situations and examples of situations described in the table below. Indeed, you can read a film to get information or
to inform others. The related situations would be, for example, writing a pitch for a producer/director, presenting a film to an audience, etc.

Designed according to the CBA paradigm, a model of the pedagogy of integration, this syllabus provides the final competence of the second cycle
(making a 3 to 5 minute film) and the different basic competences that articulate it. The three basic competences, which in turn are divided into
skill levels, are implemented in the families of situations and examples of situations presented in the sample below.

Class Core competence 1 Families of situations Examples of situations Contents/ skills resources

Lower sixth Read a film -Read a film for personal - Presentation of a film to an audience; a) history of cinema;
information/sharing - presentation of a film in various ways; b) elements of cinematographic
- writing a pitch; language and grammar;
- Writing of a viewing note for a newspaper; c) film tools and jobs.
- Film viewing (in theatres/in private);
- Analysing a film in a variety of ways;
- Critique of a film in various ways;
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 -Read a film to express a - Participation in a quiz on cinema, etc.
point of view

- Read a film and write a

critical note

- Etc.

3. Core competences and skill levels

Intermediary Integration Competence /Basic Competence 1 for Lower sixth form (CII) : Reading a film

Skills levels

Skill level 1 (SL. 1/BC1): To present the main stages of the history of cinema.
Skill level 2 (SL. 2/BC1): Appropriating language elements and cinematographic grammar.
Skill level 3 (SL. 3/BC1): Mastering of cinematographic occupations and tools.

4. Contents/ Generic resources involved

Skill level 1 (SL. 1/BC1): To present the main stages of the history of cinema.
• circumstances surrounding the birth of the cinema
• the history of cinema in Africa and African cinema
• characteristics of the cinema, from the advent of the television to present day

Skill level 2 (SL. 2/BC1): Appropriating language elements and cinematographic grammar.
• the basic notions and concepts of cinematographic art
• image and sound elements
• film mounting elements

Skill level 3 (SL. 3/BC1): Mastering of cinematographic jobs and tools.

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 • Jobs/occupations related to film preparation
• Jobs/professions related to film manufacturing
• jobs related to film exploitation

5. Synoptic table of skills levels and corresponding resources

Skill level 1 (SL. 1/BC1): To present the main stages of the history of cinema.

Essential knowledge Know-how Attitude

- The technological evolution of cinema - describe the circumstances surrounding the Curiosity
- The history of cinema creation (trends and currents) birth of cinema Imagination
- situate the films read/viewed over time Memorisation
(label the film) Discernment

Essential knowledge Know-how Attitude

- Birth and evolution of cinema in Africa (figures, - present the history of cinema in Africa and Curiosity
types, contents, etc.) African cinema Imagination
- Birth and evolution of African cinema (figures, types, - classify the different African films Memorisation
contents, etc.) Discernment
Listening
Rigour

Essential knowledge Know-how Attitude

- The thematic and aesthetic specificities of the cinema - to give the characteristics of cinema, from Curiosity
of the targeted period; the advent of television to present day; Imagination
- identify the different specificities of films Memorisation
of the targeted period. Discernment
Listening
Rigour

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 Skill level 2 (SL. 2/BC1): Appropriating language elements and cinematographic grammar.

Essential knowledge Know-how Attitude

- The basic concepts and notions of cinematographic - handling the devices Curiosity
art - connecting online, searching, identifying Imagination
- Choice of equipment and devices online movies (YouTube, TubeMate,...) Memorisation
- Familiarization with technical formats (HD, Blu ray) - using different technical formats in the Discernment
- Reading and evaluation of information on media and playback of a film Listening
devices - mobilizing the elements of lexicon and Rigour
- Basic Lexicon of Cinematographic Art semiology to read a film
- Definition of cinema (telling stories with images and - identifying and classifying the different
sounds) categories of films (social, historical,
pedagogical, etc.)
Cinematographic stories: - deconstructing a film
- Typology: Fiction, documentary, Short film / feature
film/series/soap opera / single;
- Genres: comedy, drama, thriller, spy, war, horror,
detective;
- Origins: literary adaptation, original work, real life
story, press article, others.
- Structure of the story: Acts I, II, III (Beginning, middle,
end)
-Values: entertainment, pedagogy, social, historical.
- Form and Style: processes (Ex: flashback)
- Elements of semiology (colours, light, special effects,
etc.)

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Essential Knowledge Know-how Attitude
- Constitutive elements of the image (camera movements, - mobilizing knowledge about image and Curiosity
scenery, framing, characters, objects, ...) sound to play a film Imagination
- Elements of sound (noise, sound effect, music, voice, ...) Memorisation
discernment
- Image/shooting: Listening
1. Definition of the plan - recognizing the different images and shot Rigour
2. Reading a plan values on a given sequence, the role of
- The framework: value of the plans (close-up, overview the camera and light in the narrative
plan) (value of the shots, movements of the
- Optics: the camera lenses optical camera used).
- Camera movement and height
- Light: artificial/natural; day/night
- Decoration: indoor/outdoor; studio/natural
- Actions of characters
- Nature of the image: live, digital, created by
computers.

- Sound
- Definition of In sound, Off sound and synchronous
sound
- Identification of added or additional sounds and
effects.
- Identification of silences, noises, sound effects,
ambient sounds, artificial sounds, ...
- Interpretation of the meaning that sound produces in a
film narrative

Essential Knowledge Know-how Attitude

- Elements for mounting a film; - highlighting (indicating) the Curiosity
- The different types of assembly (linear, parallel, construction of a film's narrative. Imagination
alternating...); Memorisation
- Mounting techniques. - identifying the construction of the discernment
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- Image/editing: meaning of images, sounds and Rigour
-Reading and assembly of plans mixes
- Identification and definition of connection - interpreting the different roles that
- Identification of the order of plans (succession) sounds play (music, sound effects,
- Interpretation of the meaning produced by an arrangement of silence, etc.)
images.
- Identification of punctuation effects (fades)

Skill level 3 (SL. 3/BC1): Mastering of cinematographic jobs and tools.

Essential knowledge Know-how Attitude

- Film manufacturing process - determining and assessing the role Curiosity
- The different jobs involved in making a film (director; of each profession in the film Imagination
assistant director, set designer, make-up artist, cameraman, preparation phase. Memorisation
sound technician, stage manager, actor, lighting designer, discernment
etc.) Rigour

Essential knowledge Know-how Attitude

- Film exploitation process - determining and assessing the role Curiosity
- The different jobs related to the exploitation of a film of each job/profession in the film's Imagination
(distributor, producers, ...) exploitation phase. Listening
- Familiarization with marketing (Display) Memorisation
discernment
Rigour

6. Integration activities
The CBA largely focuses on resources and on integration activities in teaching/learning and evaluation processes. The situations that each student
must be able to deal with at the end of a given learning period, year or cycle and in relation to which they must demonstrate competence are
integration situations, target situations or complex situations. All the integration activities of the "cinematographic art" sector relate to the
examples of situations (presented in the table above). It is all about analysing extracts from films or whole films screened in the appropriate

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conditions (in cinemas), in the presence of the teacher and, possibly, a film professional or the film director. Thus, students can watch a film with
specific instructions related to the families of situations.

7. Evaluation
In the context of teaching in the cinematographic/arts sector, evaluation focuses on resources and skills respectively. Resource assessment focuses
on exercises based on essential, knowledge, skills and attitudes. This skills-based approach requires learners to carry out complex activities leading
to production after viewing of an extract/excerpt or the whole film. The student's production will be assessed/evaluated on the basis of a correction
grid containing criteria and indicators.

Article 2: The programmes of study referred to in Article 1 above shall be implemented as from the start of the 2018/2019 school year.

Article 3: The Inspectors Coordinators General, the Director of the Office du Baccalaureate of Cameroon Board, the Registrar of the Cameroon
GCE Board, the Director of General Secondary Education, the Regional and Divisional Delegates of Secondary Education, the Secretariats of
Education of the various Private Education Orders, and Heads of Public and Private Schools are each responsible for the strict application of this
decision, which will be registered, published in the Official Gazette in French and English and communicated wherever it is required.

Done in Yaounde, on ...........................................

THE MINISTER OF SECONDARY EDUCATION

CC
-PRC
-PM
-MINESEC/CAB/IGE/DIRECTORATES
-MINESUP
-RDSEs and DDSEs
- Representatives of National PEOs
- National Secretariats of Private Education
-Schools concerned
- Archives/Chrono
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