The Role of New Media in Cameroon Film Promotion: A Case Study of YouTube and Facebook.

For many years, films were primarily made for cinemas, which were the primary venues for experiencing film and film culture. However, advancements in digital communication have greatly changed how films are consumed. Easier internet access and mobile technology have shifted viewership from physical cinemas to homes and online platforms. This change brings both opportunities and challenges for filmmakers, especially in places like Cameroon, where film distribution networks have traditionally been limited and underfunded. This study examines how Cameroonian films can respond to the changing media landscape by leveraging new media platforms to enhance visibility, audience engagement, and revenue.

Using a mixed-methods approach, the study combines a quantitative analysis of online metrics with qualitative content and audience analysis. Data were collected from selected Cameroonian film channels on YouTube and Facebook, including 23 accessible titles, focusing on viewer statistics, user interactions (likes, shares, comments), and promotional strategies. The analysis also included case studies of films that successfully built audiences through online releases and social media promotion.

The findings show that new media platforms have become crucial tools for promoting and distributing films in Cameroon, as seen in high-reach titles such as Cutlass (Cameroon Cinema, 2022), Saving Mbango (Stephanie Tum TV, 2025), Way Home (ML Production237, 2025a), Bushfaller (Noble Arts Entertainment, 2023), Broken Home (Beffdram Movies, 2022), Nemesis (M&H Film House, 2025), and My Sister My Pride (Noble Arts Entertainment, 2023), which accumulate tens of thousands of views and sustained engagement over time. By contrast, other films, such as Standard 7 (Menkemndi Randy, 2024), Le Silence (africa LOVE, 2020), The Unexpected Pause (KelliD Creation, 2025), That Family (N.G.E TV, 2021), or lesser-known dramas in curated playlists, remain in the long tail with a few hundred to a few thousand views, indicating persistent visibility gaps despite the democratisation of access. YouTube serves as both a marketing outlet and an informal revenue stream through ad monetization, while Facebook fosters interactive audience engagement and builds fan communities. Despite challenges such as limited internet access, monetization issues, and copyright concerns, using these platforms has greatly increased the visibility of Cameroonian films locally and among diaspora audiences. The paper concludes that the active, strategic use of digital media is essential to the sustainability and global competitiveness of the Cameroonian film industry.

Keywords: new media, film reception, communication, exploitation, film audience