In Accra, Ghana, a vibrant art form is experiencing a renaissance, as local artists breathe new life into the tradition of hand-painted film posters. Once a staple of the country’s cinematic landscape from the late 1970s to the early 2000s, these imaginative reinterpretations are now gaining traction among international film enthusiasts, thanks to online platforms and dedicated galleries.
The Art of Imagination
On a sunlit porch in Teshie, just outside Accra, artist Jeaurs Affutu, known as Heavy J, carefully applies vibrant red paint to a canvas made from a flour sack. The image he is crafting—a poster for Disney’s animated classic, *The Little Mermaid*—is far from conventional. Rather than depicting the film’s central narrative, Heavy J introduces elements like a menacing skull and a knife-wielding prince, Eric. “We add more to make people interested,” he explains, illustrating the creative liberties artists take in this unique genre.
Historically, these posters served as eye-catching advertisements for local video clubs, which emerged as community hubs for watching films. As original promotional materials fell short in attracting audiences, artists began to reimagine the visuals, infusing their own style and flair. The results were both humorous and surreal, with artists often competing to create the most striking interpretations, which they referred to as “forgeries.”
A Cultural Shift
As the turn of the century approached, the proliferation of home entertainment systems led to a decline in video clubs, and with it, the demand for hand-painted posters diminished. However, the artistry did not fade entirely. Over the years, these creations captivated collectors worldwide, leading to a renewed interest in the craft. Books and exhibitions showcasing the work of Ghanaian artists further solidified the posters’ status as collectibles.
Deadly Prey Gallery, established in 2012 by Robert Kofi and Brian Chankin, is at the forefront of this revival. The gallery collaborates with around 15 artists, including Heavy J, to ensure the tradition of hand-painted film posters not only survives but thrives. Kofi, who has a background in promoting films during his youth, is passionate about connecting these artists with a global audience, with most orders originating from the United States. Popular titles like *The Exorcist* and the *Star Wars* franchise continue to command high interest, with commissioned pieces starting at around £450.
The Creative Process
In a bustling studio in Ashaiman, artist Benjamin Amartey, known as Stoger, is hard at work on commissions for films including *Poltergeist* and the controversial drama *Gummo*. Kofi frequently visits to provide feedback, guiding the creative process to ensure the final product aligns with the imaginative spirit that defines their work. During one session, he remarked that the cats featured in Stoger’s poster were not aggressive enough, prompting a discussion about enhancing the overall aesthetic to better captivate potential viewers.
Stoger, who has transitioned from sculpting to painting since 1992, underscores the artists’ aim to create scenes that not only attract attention but also encapsulate the essence of the films. “I use my imagination to make scenes that will attract people so that they’ll love the poster,” he states, showcasing the blend of creativity and strategy in their work.
Sensationalism and Audience Expectations
The exaggerated nature of these posters stems from a rich African tradition of “visualising the invisible,” according to Joseph Oduro-Frimpong, director of the Centre of African Popular Culture. Artists often employ imaginative painting to highlight elements that resonate with audiences unfamiliar with the film’s content. This approach has led to instances where viewers felt misled, resulting in confrontations after screenings. Kofi recalls a specific incident from the 1990s when he was physically assaulted after audiences discovered that a film did not contain a scene depicted in the poster.
At the Centre for National Culture in Accra, a vibrant display of these nostalgic posters captures the attention of visitors. From Jennifer Lopez shooting an arrow in *Anaconda* to a mouse emerging from Jamie Lee Curtis’s mouth in *Halloween*, the artwork is a testament to the creativity and cultural significance of this craft. “We are preserving a tradition,” Kofi asserts, emphasising the importance of maintaining this unique aspect of Ghanaian cultural heritage.
Why it Matters
The resurgence of hand-painted film posters in Ghana not only highlights the resilience of a cultural practice but also reflects a broader narrative about the intersection of art and commerce in the digital age. As these artists gain recognition on global platforms, they not only preserve a rich heritage but also redefine the future of visual storytelling. This revival serves as a reminder of the power of creativity to connect communities across borders, ensuring that the vibrant spirit of Ghanaian cinema continues to inspire and captivate audiences worldwide.