Cameroonian film producer and actress Stephanie Tum has strongly condemned STAR TV Bamenda for broadcasting her movie "Deadline for Love" without authorization, describing the act as copyright infringement and intellectual property theft.
Official Statement from Stephanie Tum.The dispute began when the Bamenda-based television channel aired the film during one of its programs, prompting Tum to issue a formal response highlighting the illegality of the broadcast. The actress, who also produced the movie, cited Cameroon’s Copyright and Neighboring Rights Law No. 2000/011 of December 19, 2000, which grants automatic protection to literary and artistic works upon creation.
“Your assertion that a lack of copyright warning justified airing the film is legally unfounded,” Tum wrote in a letter addressed to STAR TV. She stressed that broadcasters have a duty of care and cannot claim ignorance of copyright law. She further warned that arguments about “promoting local films” could not justify infringement, insisting that proper authorization or licensing was the only lawful route.
Continuation of the Official Statement from Stephanie Tum.
Cameroonian actress cum movie producer also pointed to the legal consequences of unauthorized broadcasting under Articles 78–83 of Cameroon’s Copyright Law, which provide for both civil damages and criminal sanctions, including fines and imprisonment. She demanded a public acknowledgment of the infringement and urged the channel to caution its viewers against any online or offline attacks directed at her.
In response, STAR TV Bamenda issued a formal apology. The management admitted the broadcast was an oversight and claimed it was done with the intention of promoting local content.
“We were unaware that movies published on YouTube should not be aired especially when they do not carry any copyright warning,” the station said in a statement. It further promised to refrain from such practices in the future and acknowledged Tum’s concerns.
The incident has reignited debate about copyright enforcement and the treatment of local filmmakers in Cameroon, many of whom struggle with piracy, lack of regulation, and limited financial returns despite significant personal investments in production.
For Tum, the unauthorized broadcast was more than a personal affront, it was a reminder of the fragile state of intellectual property protection in the Cameroonian film industry.
“We use our hard-earned money and go through a lot to produce these movies,” she noted, urging broadcasters to adopt stricter policies on copyright compliance.
As the industry continues to expand with more films reaching global audiences, the case underscores the growing tension between promotion and protection in Cameroon’s cultural landscape.
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