In Accra, Ghana, a vibrant exhibition at the Centre for National Culture is shining a spotlight on the fascinating world of hand-painted film posters. These artworks, which often deviate wildly from the films they represent, have become a nostalgic symbol of Ghana’s cinematic past, capturing the imagination of art enthusiasts both locally and internationally.
A Brush with Imagination
Nestled in the suburb of Teshie, artist Jeaurs Affutu, known as Heavy J, meticulously works on a striking piece that showcases his unique approach to film poster art. Using vivid red oil paint, he adds dramatic elements to a canvas made from a flour sack, depicting a scene that diverges from the original narrative of Disney’s The Little Mermaid. The benevolent prince Eric is portrayed wielding a knife, while a skull ominously looms above—a stark contrast to the film’s whimsical themes. “We add more to make people interested,” Heavy J explains, highlighting the artistic freedom that characterises this genre.
Historically, hand-painted posters flourished in Ghana from the late 1970s until the early 2000s, serving as a vital marketing tool for local video clubs. As original promotional materials failed to captivate audiences, artists began to reinterpret narratives, often infusing their creations with a whimsical or surreal twist. This playful competition among creators led to a unique form of artistic expression, where storytelling became as much about imagination as it was about the films themselves.
The Rise and Fall of a Cultural Phenomenon
As the 21st century progressed, the advent of electricity and personal viewing devices led to a decline in the popularity of these hand-painted works. Video clubs struggled to stay afloat, and many artists shifted their focus to new avenues. Yet, the allure of these vintage posters did not fade entirely. They garnered international attention, becoming coveted collectibles featured in books and exhibitions, preserving a slice of Ghana’s cinematic history.
Recently, interest in these artworks has surged once more, largely due to the power of online marketing and a growing community of film aficionados eager to embrace this distinctive art form. To foster this revival, the Deadly Prey Gallery has emerged as a key player, collaborating with local artists to preserve and promote the craft of hand-painted film posters.
Revitalising a Legacy
Co-founded in 2012 by Robert Kofi, who grew up immersed in the video culture of Winneba, the Deadly Prey Gallery was established to bridge the gap between local artists and a burgeoning international market. Working alongside his partner, Brian Chankin, Kofi connects talented painters to global customers, facilitating the creation and distribution of these imaginative works.
Heavy J is one of the 15 artists affiliated with the gallery, and his four-decade career exemplifies the enduring nature of this craft. Most commissions flow in from the United States, with classic genres such as action, horror, and science fiction seeing the highest demand. Iconic titles like The Exorcist and the Star Wars franchise are particularly sought after, with commissioned pieces starting at around $600 (£450).
Artistic Expression and Cultural Identity
In the bustling studio of Ashaiman, another artist, Benjamin Amartey, known as Stoger, is also at work, illustrating a poster for the horror classic Poltergeist. His creative process involves not just painting, but also interpreting the film’s essence to draw viewers in. “I use my imagination to create scenes that will attract people,” he states earnestly.
Joseph Oduro-Frimpong, director of the Centre of African Popular Culture at Ashesi University, provides insight into the artistic approach prevalent among these poster painters. He notes that the exaggeration found in these artworks stems from a long-standing African tradition of “visualising the invisible.” With audiences often unfamiliar with the films being depicted, artists seize the opportunity to engage viewers through sensationalism and imaginative flair.
However, this bold reinterpretation has not always been met with enthusiasm. There have been instances where viewers felt misled by the dramatic representations, leading to confrontations. Kofi recalls a particularly memorable incident from the 1990s when he faced backlash after audiences discovered that the film Double Impact did not feature the beheading scene depicted on its poster.
Preserving a Cultural Heritage
Today, the Centre for National Culture in Accra showcases a selection of these vibrant artworks, including striking depictions of Jennifer Lopez in Anaconda and an eerie image from Halloween featuring a mouse emerging from Jamie Lee Curtis’s mouth. Kofi is resolute in his mission: “We are preserving a tradition; we are preserving a history.”
Why it Matters
The resurgence of hand-painted film posters not only revives a unique artistic tradition but also underscores the rich cultural tapestry of Ghanaian cinema. As these artworks gain international recognition, they serve as a potent reminder of the power of creative expression in shaping cultural identity. In a world increasingly dominated by digital media, the tactile, imaginative nature of hand-painted posters invites us to celebrate the human element in storytelling, ensuring that the legacy of Ghana’s film culture continues to thrive.
