In a captivating showcase at the Centre for National Culture in Accra, Ghana, the art of hand-painted film posters finds new life through the efforts of local artists. Once a staple of Ghanaian cinema culture from the late 1970s until the early 2000s, these posters, characterised by their surreal and imaginative interpretations, are now experiencing a resurgence, driven by global interest and online sales.
The Evolution of a Cultural Form
Nestled in his Teshie home, artist Heavy J, known in real life as Jeaurs Affutu, meticulously crafts a poster for Disney’s animated classic, *The Little Mermaid*. However, his rendition diverges drastically from the original narrative. A knife-wielding prince and a skull adorn the canvas, elements that have little to do with the film’s storyline. “We add more to make people interested,” Heavy J explains, demonstrating the artistic freedom that defines this unique genre.
From the late 20th century, local artists began to exploit their creative liberties, transforming plotlines into vibrant visual spectacles. The initial motivation for these hand-painted posters stemmed from a need to attract audiences to video clubs, as traditional promotional materials failed to engage the local population. As a result, artists sought to create enticing “forgeries,” competing to produce the most eye-catching and imaginative designs.
A Decline and Resurgence
The turn of the century marked a decline in the demand for hand-painted posters, coinciding with the widespread adoption of electricity and personal video players among Ghanaians. This shift led to the closure of many video clubs, pushing artists to explore alternative avenues for their work. However, as the world began to appreciate the artistry behind these posters, they gained recognition in international exhibitions and publications, transforming into sought-after collectibles.
Today, as interest in vintage and hand-painted art surges worldwide, platforms like Deadly Prey Gallery are pivotal in reviving this artistic tradition. Founded in 2012 by Robert Kofi, a Ghanaian with deep roots in the film industry, the gallery connects local artists with a global audience. Kofi recalls his childhood experiences as a “hype man” for video centres, which ultimately led him to curate and sell these vibrant artworks.
The Process Behind the Art
Deadly Prey Gallery collaborates with a group of 15 talented artists, including Heavy J, to produce commissioned pieces that resonate with film enthusiasts, particularly in the United States. Popular genres include action, science fiction, and horror, with titles such as *The Exorcist* and the *Star Wars* franchise commanding the highest prices, starting at approximately $600 (£450).
Another prominent artist in this revival is Benjamin Amartey, known as Stoger, who has been painting film posters since 1992. His studio, located in Ashaiman, is a hive of creativity, where he works on pieces that push the boundaries of narrative representation. During a recent session, Kofi provided feedback on Stoger’s depiction of a scene from *Poltergeist*, insisting that the cats needed to appear more menacing and the spaghetti messier. “I want uglier cat scenes,” he stated, emphasising the imaginative approach inherent in this artistic form.
A Unique Artistic Perspective
The exaggerated nature of these posters is rooted in a broader African artistic tradition, which seeks to “visualise the invisible.” Joseph Oduro-Frimpong, director of the Centre of African Popular Culture, highlights that audiences often have no prior knowledge of the films, allowing artists to unleash their creativity without the constraints of accuracy. This imaginative painting, he notes, often results in sensational visuals that captivate potential viewers.
Despite their whimsical nature, these reinterpretations have occasionally sparked controversy. Kofi recalls a particularly memorable incident from the 1990s when audiences reacted violently after discovering that *Double Impact* did not feature the beheading depicted on its promotional artwork. Such occurrences underline the passionate engagement that these posters elicit from viewers, further solidifying their place in Ghanaian cultural history.
Why it Matters
The resurgence of hand-painted film posters in Ghana represents more than just a revival of an artistic tradition; it embodies the intersection of cultural heritage and modern commerce. As global audiences increasingly seek unique and authentic art forms, these posters serve as a bridge between past and present, offering a glimpse into the rich tapestry of Ghana’s cinematic history. In preserving this craft, artists not only honour their roots but also carve out a new space for Ghana on the international art scene, ensuring that this vibrant tradition continues to thrive.
