Ghana's sensationalist film posters become collectible art

A tradition born in the late 1970s

From the late 1970s to the early 2000s, hand-painted film posters were a hallmark of Ghanaian film culture, used to advertise screenings at local video clubs. Organizers found that original posters failed to attract audiences, so artists began creating their own interpretations, often adding surreal and shocking details.

Artists and their works

Artist Heavy J (real name Jeaurs Affutu) recently painted a poster for the animated fairy tale “The Little Mermaid,” adding a bloody knife and a skull to make it more intriguing. Another artist, Stoger (Benjamin Amartey), worked on posters for “Poltergeist” and “Gummo,” while gallery co-founder Robert Kofi requested more aggressive cats and dirtier spaghetti.

Decline and revival

Around 2000, the practice waned as Ghanaians gained access to electricity and televisions. However, the posters had already attracted international attention and became collectibles. After a lull in the early 2000s, demand resurged due to online marketing and a receptive base of Western film lovers.

Deadly Prey Gallery

Deadly Prey Gallery, founded in 2012 by Robert Kofi (from Ghana) and Brian Chankin (Chicago), works with 15 artists, including Heavy J, who has been painting posters for 40 years. Commission prices start at $600. Most orders come from the US. Kofi emphasizes that the gallery helps preserve both the tradition and history.

Exaggeration as tradition

Joseph Oduro-Frimpong from Ashesi University explains that the exaggeration stems from an African tradition of “visualizing the invisible.” Artists add elements not in the film to create sensation. Sometimes this has led to conflict – Kofi recalls being beaten in the 1990s after viewers realized the film “Double Impact” did not feature the decapitation scene shown on the poster.