Sitting on his porch in Teshie, near Accra, the artist Jeaurs Affutu, known as Heavy J, meticulously applies red oil paint onto a flour sack canvas. The scene features a man, the kind-hearted prince Eric from “The Little Mermaid,” wielding a knife, alongside an outline of a skull, elements seemingly unrelated to the classic tale. “We add more to make people interested,” Heavy J explains, embodying a unique tradition that flourished in Ghana’s film culture from the late 1970s to the early 2000s.
In those vibrant decades, hand-painted film posters became an essential part of advertising for local screenings held in neighborhood video clubs. As the original posters failed to generate sufficient interest, artists infused their creations with whimsical and often humorous elements, using plot lines merely as launching pads for imaginative reinterpretations. Competition among these artists, who viewed their work as “forgeries,” led to an explosion of creativity.
However, this once-thriving practice began to decline around the turn of the century as Ghanaians gained better access to electricity and personal televisions. Many video clubs shuttered their doors, and artists sought new directions. Yet, by then, these colorful posters had garnered international attention, featured in various books and exhibitions, transforming into coveted collectibles.
Despite a lull in demand for new painted posters early in the 21st century, interest has resurfaced in recent years, driven largely by digital marketing and a growing community of Western film enthusiasts. Deadly Prey Gallery, established in 2012, plays a pivotal role in preserving this artistic culture, linking local talents to global audiences. Co-founded by Brian Chankin, a former video rental store owner, and Robert Kofi, who began working in the film industry as a child in Winneba, the gallery has warmly embraced this artistic revival.
Currently working with 15 artists, including Heavy J—who boasts four decades of experience—the gallery has noticed most of its orders coming from the U.S. The resurgence in popularity often centers on posters depicting old action, science fiction, and horror films, with titles like “The Exorcist” and franchises such as “Star Wars” and “Terminator” drawing the most attention. Commissioned pieces, which can start at $600, vary based on canvas size and client specifications.
In a nearby studio in Ashaiman, another artist, Benjamin Amartey, known as Stoger, is busy crafting two distinct posters. One is for the horror film “Poltergeist,” while the other draws inspiration from “Gummo,” a controversial film featuring a character eating spaghetti in a bathtub. During a creative review, Kofi emphasized the importance of exaggeration, urging Stoger for “uglier cat scenes” and “dirtier spaghetti,” showcasing a vibrant and playful artistic exchange.
This emphasis on dramatization reflects a broader African tradition of “visualising the invisible.” Joseph Oduro-Frimpong, director of the Centre of African Popular Culture, notes that since audiences are often unfamiliar with the films, artists employ imaginative techniques, adding sensational details to captivate potential viewers. This creativity, while engaging, has occasionally sparked backlash, as in the infamous instance where Kofi was physically assaulted for a misleading depiction on a film poster in the 1990s.
At the Centre for National Culture in Accra, an array of eye-catching posters from Deadly Prey Gallery adorn the walls, illustrating a rich tapestry of cinematic history. Kofi remarks on the gallery’s mission, affirming, “We are preserving a tradition. We are preserving a history.” As global curiosity reignites interest in these provocative artworks, both artists and galleries work diligently to uphold Ghana’s distinctive legacy in film poster artistry, breathing new life into a cherished cultural expression.
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