In a unique fusion of artistry and cinema, hand-painted film posters are making a remarkable resurgence in Ghana, reflecting the country’s rich cultural history and the evolving landscape of film appreciation. Once a staple of local cinema from the late 1970s to the early 2000s, these vibrant artworks are now experiencing a renaissance, spurred by both local and international demand.
A Creative Legacy
Nestled in the coastal suburb of Teshie, Jeaurs Affutu, known as Heavy J, meticulously applies red oil paint to a flour sack, crafting a striking and unconventional poster for Disney’s animated classic, The Little Mermaid. The imagery he employs diverges sharply from the film’s narrative, featuring a bloodied knife and a skull, elements that serve to intrigue potential viewers rather than mislead them. Heavy J’s approach embodies the spirit of Ghanaian film poster artistry, where plotlines often serve merely as springboards for imaginative reinterpretation.
Historically, these hand-painted posters were essential marketing tools for video clubs, which emerged in response to the rising popularity of home viewing options. As traditional film advertising failed to attract audiences, local artists began to create their own interpretations, blending creativity with a dash of surreal humour. This practice thrived until the advent of widespread electricity and personal media devices, which saw many video clubs shutter their doors and artists shift their focus to other ventures.
The Revival of Interest
Despite a lull in the early 21st century, the demand for hand-painted film posters has surged once again, largely due to the internet and a growing appreciation for these unique artworks among film enthusiasts worldwide. The Deadly Prey Gallery, co-founded by Robert Kofi in 2012, plays a pivotal role in this revival. The gallery collaborates with a cadre of 15 artists, including Heavy J, to preserve the rich tradition of hand-painted poster creation while connecting them to a burgeoning market, primarily in the United States.
Kofi, who grew up working in video centres, recognised the potential of these artworks as collectibles. His gallery has facilitated the shipping of commissioned pieces, with prices commencing at around $600 (£450). The highest demand is observed for nostalgic titles from the action, science fiction, and horror genres, such as The Exorcist and the Terminator franchise.
A Creative Process
In Ashaiman, just a short distance from Heavy J’s studio, another talented artist named Benjamin Amartey, known as Stoger, is diligently working on posters for Poltergeist and the experimental film Gummo. Kofi, who manages the artists’ projects, offers constructive feedback on their work, ensuring that the final product meets both creative and commercial expectations. This collaborative effort not only enhances the quality of the artworks but also fosters a sense of community among the artists.
The emphasis on exaggeration and imaginative interpretation in these posters aligns with a broader African tradition of “visualising the invisible.” Joseph Oduro-Frimpong, director of the Centre of African Popular Culture at Ashesi University, explains that since audiences often approach these films without prior knowledge, artists feel free to explore sensationalism and creativity in their work. This approach can lead to dramatic interpretations that, while occasionally resulting in viewer disappointment, ultimately contribute to the allure of these artworks.
Preserving Cultural Heritage
The cultural significance of these hand-painted posters cannot be overstated. Kofi remarks, “We are preserving a tradition. We are preserving a history.” Displayed prominently at the Centre for National Culture in Accra, the vivid posters capture the essence of Ghana’s cinematic past while also spotlighting the contemporary revival of this art form. From images of Jennifer Lopez in Anaconda to the chilling scenes from Halloween, these artworks tell stories that transcend the confines of the films they represent.
While the reinterpretations can sometimes lead to misunderstandings—there are tales of viewers reacting violently upon discovering that a movie does not contain the sensationalised scenes depicted in the posters—the phenomenon underscores the dynamic relationship between art and audience expectations in Ghanaian cinema.
Why it Matters
The resurgence of hand-painted film posters in Ghana is not merely an artistic revival; it is a vital expression of cultural identity and creativity. As these artworks gain international acclaim, they not only offer a glimpse into the unique cinematic heritage of Ghana but also foster a greater appreciation for diverse artistic practices in an increasingly globalised world. This movement reflects how art can transcend boundaries, reinvigorate traditions, and connect cultures, emphasising the importance of preserving and celebrating local craftsmanship in an era of digital homogenisation.
