Today access to printing is far less expensive and movies have become more accessible to the general public in Ghana. Though a specific poster might only be 10-20 years old, it’s appearance will far surpass it’s actual age due to the elemental toll one takes from constant transit, being rolled, folded, left in the sun, rain, etc. The ruggedness of these posters is immediately noticed. Each unique poster varies in size ranging from 40 – 50 in.
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By sewing together two used flour sacks, a perfect sized canvas for a movie poster was created. Skilled local artists were now part of this growing entertainment industry in Ghana, and they surely brought their own distinct touch to each film they were called upon to promote. With no affordable access to printing, the hand-painted movie poster was the most logical advertising vehicle. Mobile cinema operators found a need to set their products apart, so an advertising motif came into play. An interesting selection of movies became popular because of this trade includeing both Hollywood action and horror, low budget American schlock, Bollywood films, Hong Kong martial arts movies, and native Ghanaian and Nigerian features.Īs more people gained interest in this rising business, competition arose.
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With a television, vcr, vhs tapes, and a portable generator they’d travel throughout Ghana setting up make-shift screening areas in villages void of electricity.
This business started in the late 1980’s when artistic industrious groups of people formed video clubs. These posters were once the product of a much larger industry known as the “Ghanaian Mobile Cinema”. “ African Gaze: Hollywood Bollywood and Nollywood film posters from Ghana” curated by Karun Thakar, London, England Text from the exhibition at Brunei Gallery, London, January 2019, entitled Their iconography emphasised the melodramatic, combining a blend of elements that drew on the local beliefs that intersected with the range of popular imported films, such as the imagery of America’s Hollywood and India’s Bollywood that were also shown in Ghana”. Many of these films were made locally in Ghana or imported from the Nollywood film industry of Nigeria. These dramatic and highly charged images, usually some six or seven feet high, were conspicuously displayed by the roadside or in prominent public positions to alert filmgoers to the release of new films.
The intense competition between films enhanced the creativity and imaginative possibilities realised by the artists in the film posters and established their individual renown. These film posters were commissioned by mobile local entrepreneurs taking the films to a range of communities and using the cloth posters that could be rolled up, unfurled and transported very easily as they criss-crossed the country. Highly skilled artists emerged to create striking images with their surfaces co-ordinated in eye catching colour arrangements to command the attention of passers-by. “The late 1980s in Ghana saw the emergence of exuberant new visual modes of expression in a new local and innovative film industry (alongside that of Nigeria commonly referred to as Nollywood), especially in the ways films were promoted by vivid hand painted posters on sack or canvas. Upcoming Exhibition September 2020 in Ottawa, Canada.
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