Cinema of Ghana
[sources 1] The movie industry has no official name as yet since consultations and engagements with stakeholders has been ongoing when a petition was sent to the Ministry of Tourism, Arts and Culture which suspended the use of the name Black Star Films.
[17] In the early 1920s, individuals in the private sector brought film to Ghana (then Gold Coast) by opening cinemas in urban areas.
Dr. Kwame Nkrumah, the President of the first Republic of Ghana, sent a lot of Ghanaians abroad to learn filmmaking purposely for the running of the GFIC.
Chris Hesse, Mr. Ernest Abbeyquaye, Mr. Kwaw Ansah and many others were all trained by the government, under the leadership of President Nkrumah.
In 1981, the first independent film, Love Brewed in the African Pot, was produced by Kwaw Ansah, one of the legendary filmmakers in Ghana.
After that, King Ampaw, a Ghanaian filmmaker trained in German also followed suit with the release of his film Kukurantumi - The Road to Accra in 1982.
By the middle of the 1980s, the new generation in Ghana, led by William Akuffo, decided to adapt the new video technology that was introduced to the world in 1978, for the production of films.
The authorities of the GFIC did not see the future of video technology becoming part of the global format of filmmaking so they practically rose against it and made it difficult for the independent producers in Ghana at the time.
After some years, GFIC started to offer technical support to the VHS filmmakers in exchange for the right to first screening in its Accra cinemas.
Over time, professional and amateur filmmakers in Ghana produced films of similar quality and garnered equal respect.
In 1996, the government of Ghana sold seventy percent of the equity in the GFIC to the Malaysian television production company, Sistem Televisyen Malaysia Berhad of Kuala Lumpur.
[19] For example, in Ghanaian cinema, there is a popular theme of darkness and occultism placed in a framework of Christian dualism involving God and the Devil (see Meyer 1999a).
Tony Meribe-White and later around 2006, the Nigerian filmmaker Frank Rajah Arase who was brought in by Ifeanyi Onyeabor as his personal or production assistant.
Films like "Love Brewed in the African Pot" and "Heritage Africa" are quintessential examples of how Ghanaian filmmakers use cinema as a medium to address societal issues and celebrate African heritage[39][40] The future of Ghanaian cinema looks promising, with a new generation of filmmakers emerging who are keen on pushing the boundaries of storytelling.
The rise of digital platforms has provided new opportunities for distribution, allowing Ghanaian films to reach a global audience.
Additionally, there is a growing interest in Ghanaian cinema from international audiences, which could lead to increased investment and collaboration with foreign filmmakers.
[43] [44] The summit, organized to revitalize African cinema and enhance its economic impact, highlighted the potential for the industry to reflect the continent’s cultural and historical diversity on a global stage.
Edward Moukala, head of UNESCO’s Accra office, called for unified efforts to foster a vibrant film industry, while Ghanaian filmmaker and National Film Authority CEO Juliet Asante emphasized the need for African filmmakers to expand beyond local markets.
