Hype Gun

After a brief stay in Europe, Atangana returned to his homeland in Cameroon, which by then was a League of Nations mandate territory under the administration of the French Third Republic. The French doubted his loyalties at first, but Atangana served them with the same ardour he had shown the Germans and regained his post as paramount chief. During the remainder of his life, he oversaw the Westernisation of his subjects and the improvement of his domains despite the erosion of his powers due to French policies and unrest among his people. He never advocated resistance to the European powers, preferring to embrace the Europeans as a means of personal enrichment and in the service of African interests.[2] After his death in 1943, Atangana was largely forgotten. However, since Cameroon's independence in 1960, Cameroonian scholars have rediscovered his story.

Charles Atangana (c. 1880 – 1 September 1943), also known by his birth name, Ntsama, and his German name, Karl, was the paramount chief of the Ewondo and Bane ethnic groups during much of the colonial period in Cameroon. Although from an unremarkable background, Atangana's loyalty and friendship with colonial priests and administrators secured him successively more prominent posts in the colonial government. He proved himself an intelligent and diplomatic administrator and an eager collaborator, and he was eventually named paramount chief of two Beti-Pahuin subgroups, the Ewondo and Bane peoples.[1] His loyalty and acquiescence to the German Empire was unquestioning, and he even accompanied the Germans on their escape from Africa in World War I.

After leaving Dardanella in 1936, Andjar established his own troupe. He also worked at a publishers, writing serials based on successful films. In 1940 he was asked to join The Teng Chun's company, Java Industrial Film, helping with marketing and working as a director for two productions. After the Japanese occupation, during which time he stayed in theatre, Andjar made a brief return to cinema. He directed three films in the late 1940s and wrote four screenplays, which were produced as films in the early 1950s. He published a novel, Noesa Penida (1950). Afterward he worked for the remainder of his life writing serials based on local films and publishing film criticism. Historians recognise him as a pioneer of theatre and one of the first native Indonesian film directors, although he had little creative control of his productions.

Abisin Abbas), better known by his pseudonym Andjar Asmara was a dramatist and filmmaker active in the cinema of the Dutch East Indies. Born in Alahan Panjang, West Sumatra, he first worked as a reporter in Batavia (modern-day Jakarta). He became a writer for the Padangsche Opera in Padang, where he developed a new, dialogue-centric style, which later spread throughout the region. After returning to Batavia in 1929, he spent over a year as a theatre and film critic. In 1930 he joined the Dardanella touring troupe as a writer. He went to India in an unsuccessful bid to film his stage play Dr Samsi.