In the bustling heart of Accra, a unique artistic revival is underway, bringing with it a vibrant relic of Ghana’s cinematic past. Hand-painted film posters, once the lifeblood of local video clubs, are experiencing a resurgence, captivating a new generation of film enthusiasts both locally and abroad. Artists like Jeaurs Affutu, known as Heavy J, are at the forefront of this movement, crafting striking reinterpretations of beloved films that evoke nostalgia and intrigue.
A Canvas of Imagination
On a sun-soaked porch in Teshie, Heavy J meticulously dabs red oil paint onto a flour sack canvas. With each stroke, he transforms the innocent prince Eric from Disney’s *The Little Mermaid* into a figure wielding a knife, while a skull ominously looms above. “We add more to make people interested,” he explains, revealing an artistic philosophy that thrives on embellishment and exaggeration. Such interpretations are not mere inaccuracies; they are a bold exploration of creativity, turning plot lines into whimsical narratives that resonate with local audiences.
From the late 1970s to the early 2000s, hand-painted posters were ubiquitous in Ghana’s film culture. They served as the colourful advertisements for video clubs that popped up across the country, capturing the imagination of viewers who sought entertainment in a rapidly changing society. Original promotional materials often failed to draw crowds, prompting local artists to create their own versions, which were as much about spectacle as they were about storytelling. This competitive spirit fostered a unique genre of art where each painter strived to produce the most captivating “forgery.”
The Decline and Revival
The dawn of the 21st century saw a decline in this vibrant art form as access to electricity and personal television sets became commonplace. Video clubs shuttered, and the artists who once thrived found themselves pivoting to new ventures. Yet, the legacy of these hand-painted creations did not fade entirely. As global interest surged, many artists began to see their work featured in exhibitions and books, leading to a burgeoning market for vintage pieces that collectors now covet.
In recent years, a renewed demand for hand-painted film posters has emerged, fuelled by online platforms connecting artists with international audiences. Deadly Prey Gallery, a key player in this resurgence, was established in 2012 by Robert Kofi, a former hype man for video centres in Winneba. Partnering with Brian Chankin from Chicago, Kofi has worked tirelessly to ensure that the unique craft of hand-painted posters is preserved and celebrated.
Connecting Artists with Audiences
Deadly Prey Gallery now collaborates with 15 talented artists, including Heavy J, linking their creations with a global customer base. Most commissions originate from the United States, where nostalgia for classic action, horror, and science fiction films reigns supreme. Titles like *The Exorcist* and the *Star Wars* franchise have become particularly sought after, with commissioned pieces starting at around $600 (£450).
Kofi, who actively manages the gallery, takes a hands-on approach, visiting artists’ studios to guide them in their work. In another studio in Ashaiman, artist Benjamin Amartey—better known as Stoger—paints posters for films like *Poltergeist* and *Gummo*. His process is marked by a playful imagination, as he strives to create scenes that will entice viewers. “I want uglier cat scenes,” Kofi advises Stoger, underscoring the collaborative nature of their work.
Tradition Meets Innovation
The exaggerated style of these posters is deeply rooted in an African tradition of “visualising the invisible,” according to Joseph Oduro-Frimpong, director of the Centre of African Popular Culture. He notes that since audiences often approach these artworks without having seen the films, artists are free to indulge their imaginations. This results in a sensationalism that captivates potential viewers, creating an allure that mere accuracy could never achieve.
However, this creative freedom does not come without consequences. Instances of viewer backlash have been documented, with audiences feeling misled by the dramatic imagery. Kofi recalls a particularly violent incident from the 1990s, when he was assaulted by disgruntled viewers after they realised *Double Impact* did not feature the beheading depicted on the poster.
At the Centre for National Culture in Accra, the walls are adorned with vibrant works from the Deadly Prey Gallery, showcasing everything from Jennifer Lopez shooting an arrow at a snake in *Anaconda* to a macabre scene from *Halloween*.
Why it Matters
The revival of hand-painted film posters in Ghana is more than an artistic trend; it is a powerful testament to the resilience of a cultural heritage that reflects the complexities of local and global narratives. As artists reimagine film history through a distinctly Ghanaian lens, they are not only preserving a vital tradition but also reshaping how stories are told in a modern context. By bridging the gap between past and present, these creators remind us that art can be both a reflection of society and a catalyst for change, inviting audiences to engage with the narratives that shape their world.