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Cinema of Ghana

Cinema of Ghana also known as the Ghana Film Industry nicknamed Ghallywood,[1] began when early film making was first introduced to the British colony of Gold Coast (now Ghana) in 1923. At the time only affluent people could see the films, especially the colonial master of Gold Coast.[2][3][4] In the 1950s, film making in Ghana began to increase.[5][6][7][8] Cinemas were the primary venue for watching films until home video became more popular.[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]


National Theatre of Ghana, Accra

Cinema in the colonial period

In the early 1920s, individuals in the private sector brought film to Ghana (then Gold Coast) by opening cinemas in urban areas. By 1923, cinema has become a new form of entertainment, and only the affluent could see the films that were exhibited at the cinemas. Cinemas were for the first class society, that is the colonial leaders and their top officials. Later on cinema vans were used in rural areas.[citation needed]

In the 1948, when the colonial masters discovered that film, besides its entertainment values, could be used to brainwash and transform society in the direction of the filmmaker, decided to establish the Gold Coast Film Unit at the Information Services Department of the colonial government. Film became another system, considered to be scientifically appropriate, to influence society. The Gold Coast Film Unit used green-yellow Bedford buses to screen documentary films, newsreels and government information films to the public. Attendance was free. (Sakyi 1996: 9). The films included propaganda films about World War II, which were produced by the Colonial Film Unit (CFU) in London. (cf. Diawara 1992: 3).

After the war, the unit produced educational films and feature films for their African colonies. The films were designed to contrast the Western "civilised" way of life with the African "backward" way of life. They suggested "superstitious" customs should be ceased. (Diawara 1992: 3; Ukadike 1994: 44ff).

The Gold Coast Film Unit, also produced films with local interest to encourage improvements in health, crops, living, marketing and human co-operation. (Middleton–Mends 1995: 1; Diawara 1992: 5). In 1948, the Gold Coast Film Unit began to train local African film makers. Films were exchanged with other British colonies in Africa. (Middleton-Mends ibid.).[18]

Ghana Film Industry: Contemporary Ghana cinema

The cinema industry in Ghana, also known as Ghana Film Industry formerly Ghallywood started in the early part of the 1980s. Before Ghana Film Industry, the government of Ghana, who inherited the film industry from the colonial government, was the only producer of films in the country. The first president of Ghana, Dr. Kwame Nkrumah, in 1964 established the Ghana Film Industry Corporation (GFIC) at Kanda, in Accra, which would become the country's capital in 1977. GFIC now houses TV3, a private Malaysian TV station. 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. Ghana had professionally trained filmmakers who were employed by the government to produce films for the socioeconomic development of the country. Legends such as Rev. Chris Essie, Mr. Ernest Abbeyquaye, Mr. Kwaw Ansah and many others were all trained by the government, under the leadership of President Nkrumah. GFIC was established to use indigenous Ghanaian made films to reverse the negative impact of the films made by the colonial government and to restore the pride of being a Ghanaian and an African in the citizens. The Ghana Film Industry Corporation was making films to serve the purpose of building self-reliance in the African people. More than 150 feature and documentary films were produced by the GFIC by the late 1960s. After the overthrow of Nkrumah in 1966, the film industry in Ghana had a nose down.

In 1981, the first independent film, Love Brewed in the African Pot, was produced by Kwaw Ansah, one of the legendary filmmakers in Ghana. The film was shot on celluloid film. 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 Video Home System (VHS) cameras were used to shoot feature-length films from 1986 in Ghana. The idea was to tell the Ghanaian and African narrative by the African. Ghana was the first country in the world to use VHS cameras to shoot feature-length films. By the end of the 1980s, Ghana could boast of a number of films produced in Ghana on VHS tapes cassettes.

Since the late 1980s, the making of direct-to-video films has increased in Ghana.[citation needed] Funds for cinematography were hard to come by for both the state owned Ghana Film Industry Corporation (GFIC) and for independent film makers. Therefore, people in Ghana began to make their own films using VHS video cameras. The independent filmmakers created their own Ghanaian stories and scripts of the films, assembled actors, both professionals and amateurs and made successful films especially in Accra. Income from these VHS video movies helped to support the film industry. In the 1980s, when the filmmakers started making the video-films, GFIC rose bitterly against it. 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. GFIC prohibited their film directors to assist the independent producer in making the video-films. The consequence of this decision of GFIC caused the country to lose professionalism in the art of filmmaking in Ghana. The producers were forced to start directing their own video-films. This culture of produce and direct without any professional training on filmmaking would become the controllable culture in the next three decades.

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. Their films had become very popular since the Ghanaians were seeing true narratives of who they were through these films made by indigenous Ghanaian filmmakers. By the early 1990s, approximately fifty VHS video movies per year were made in Ghana. 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. The GFIC was renamed "Gama Media System Ltd". This also affected the rising film industry in the country very badly. GFIC was incharge of about half the cinema-theatres in the country at the time. The sales of the 70% of GFIC collapsed the cinema industry. The company had little interest in film making and so the film industry in Ghana continued with independent film makers whose funding relied on the popular appeal of the films.[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).[20]

Twi dialect movies are known as "Kumawood" films. English-speaking Ghanaian films are sometimes known as "Ghallywood" productions. And all the films made in Ghana are referred to us the Ghana Films since they is no official name yet.[21][sources 2] Films depicting African witchcraft are popular in Ghana, despite criticism being directed towards them.[sources 3] Ghana produces low-budget visual effects films. These include 2016 (2010), and Obonsam Besu (The Devil Will Cry).[34][35][36]

In about 1997, Ghanaians and Nigerians started making collaboration films that introduced Nigerian film directors such as Ifeanyi Onyeabor (a.k.a. Big Slim), Rev. 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. He also grew to become a movie director and collaborated with Venus Films, a Ghanaian production company, to produce a number of films that brought out Ghanaian popular actors who could access work in Nigeria (Nollywood). Some of the actors included Van Vicker, Jackie Appiah, Majid Michel, Yvonne Nelson, John Dumelo, Nadia Buari and Yvonne Okoro. Some Nigerian producers have filmed in Ghana where production costs are lower.[37]

In 2017, the Ndiva Women’s Film Festival, an African film festival for women filmmakers and audiences, was established in Accra.[38]

Notes

References

  1. ^ Starrfm.com.gh (2021-12-18). "Tourism Ministry suspends new name for Ghana film industry — Starr Fm". Retrieved 2022-06-23.
  2. ^ Frindéthié, K. Martial (24 March 2009). Francophone African Cinema: History, Culture, Politics and Theory. McFarland. ISBN 9780786453566 – via Google Books.
  3. ^ . Ghanamagazine.com. 24 November 2011. Archived from the original on 3 November 2016. Retrieved 12 September 2016.
  4. ^ Martin, Michael T. (1 January 1995). Cinemas of the Black Diaspora: Diversity, Dependence, and Oppositionality. Wayne State University Press. ISBN 0814325882 – via Google Books.
  5. ^ "Storytelling from the Margins: Accra's Emerging Cinema Shifts National Memory". accradotaltradio.com. 7 June 2016.
  6. ^ "The New Face Of Cinema In Ghana". Globe Entertainment. 13 August 2015.
  7. ^ Davis, Lauren (9 September 2009). "The Curious Art of Ghana's Mobile Movie Posters". gizmodo.com.
  8. ^ Frindéthié, K. Martial (24 March 2009). Francophone African Cinema: History, Culture, Politics and Theory. McFarland. ISBN 9780786453566 – via Google Books.
  9. ^ Mammadyarov, Riyad (2016-02-09). "Watch: Experience the Power of Ghanaian Cinema in Exclusive 'Nakom' Trailer - IndieWire". Indiewire.com. Retrieved 31 May 2017.
  10. ^ Yamoah, Michael. . Ijictm.org. Archived from the original on 2018-09-23. Retrieved 17 September 2016.
  11. ^ Brown, Ryan Lenora (4 February 2016). "How Ghana's Gory, Gaudy Movie Posters Became High Art". The Atlantic.
  12. ^ Salm, Steven J.; Falola, Toyin (1 January 2002). Culture and Customs of Ghana. Greenwood Publishing Group. ISBN 9780313320507 – via Internet Archive.
  13. ^ Meyer, Birgit (16 October 2015). Sensational Movies: Video, Vision, and Christianity in Ghana. University of California Press. ISBN 9780520962651 – via Google Books.
  14. ^ Saul, Mahir; Austen, Ralph A. (12 October 2010). Viewing African Cinema in the Twenty-First Century: Art Films and the Nollywood Video Revolution. Ohio University Press. ISBN 9780821419311 – via Google Books.
  15. ^ Hayward, Susan (3 January 2013). Cinema Studies: The Key Concepts. Routledge. ISBN 9781135120856 – via Google Books.
  16. ^ Ukadike, Nwachukwu Frank (1 May 1994). Black African Cinema. University of California Press. ISBN 9780520912366 – via Google Books.
  17. ^ "'Blackstar Films' suspended as new brand name for GH film industry". Ghana Weekend. 2021-12-18. Retrieved 2022-06-23.
  18. ^ Meyer, Birgit. "Ghanaian Popular Cinema and the Magic in and of Film | African Film Festival, Inc". Retrieved 2022-01-14.
  19. ^ "The Video Film Industry" (PDF). Content.ucpress.edu. Retrieved 31 May 2017.
  20. ^ Meyer, Birgit; Pels, Peter (31 May 2017). Magic and Modernity: Interfaces of Revelation and Concealment. Stanford University Press. ISBN 9780804744645. Retrieved 31 May 2017 – via Google Books.
  21. ^ "Ministry of Tourism suspends new name for Ghana Movie Industry". Graphic Online. Retrieved 2022-06-23.
  22. ^ "Adjorlolo: Kumawood actors 'not primitive'|Class FM Online". M.classfmonline.com. Retrieved 26 September 2016.
  23. ^ Christie, Marian (26 March 2016). "Ellen White: I don't belong to Kumawood". Ghana Live TV. Retrieved 26 September 2016.
  24. ^ "I'm not a Kumawood actor but rep Ghallywood - Ellen White". Ghanaweb.com. 26 March 2016. Retrieved 26 September 2016.
  25. ^ "Ghallywood Opens Up To Media". Modernghana.com. 28 May 2011. Retrieved 26 September 2016.
  26. ^ Tamakloe, Aseye (June 2013). "Social representation in Ghanaian cinema" (PDF). Ugspace.ug.edu.gh. Retrieved 17 September 2016.
  27. ^ Garritano, Carmela. "African Video Movies and Global Desires" (PDF). Ohioswallow.com. Retrieved 17 September 2016.
  28. ^ "Flex Newspaper – "Action Movies Can Scare Witches"- Ashbowa".
  29. ^ Ampadu, Vivian E. D. (PDF). Disability-studies.leeds.ac.uk. Archived from the original (PDF) on 11 January 2017. Retrieved 17 September 2016.
  30. ^ Badoe, Yaba. "Representing Witches in contemporary Ghana: challenges and reflections on making the 'Witches of Gambaga'" (PDF). Feminist Africa. Retrieved 4 October 2020.
  31. ^ "Filmmaker battles to save Ghana's historic cinema - Voices of Africa". Voicesofafrica.co.za. 22 November 2013.
  32. ^ "Samuel Ofori fires producers of 'witchcraft' movies | Entertainment". Ghanaweb.com. 28 June 2016. Retrieved 19 April 2017.
  33. ^ Adinkrah, Mensah (30 August 2015). Witchcraft, Witches, and Violence in Ghana. Berghahn Books. ISBN 9781782385615 – via Google Books.
  34. ^ Lamar, Cyriaque Lama (14 November 2011). "2016, the trailer for Ghana's Predator, is the best thing you'll see all day". io9. Retrieved 16 December 2016.
  35. ^ Carter, Grey (18 November 2011). "Devil May Cry: The Movie". The Escapist. Retrieved 16 November 2016.
  36. ^ Asiedu, William A. "Ghana news: Graphic Online - Graphic Online".
  37. ^ "Nollywood: Lights, camera, Africa". The Economist. 16 December 2010. Retrieved 20 February 2015.
  38. ^ Hagan, John Elliot, "Ndiva Women’s Film Festival launched", The Finder, 27 June 2017.

Bibliography

  • Allen, Robert C. 1995 Introduction. In: R. C. Allen (ed.) To be Continued.... Soap Operas Around the World. London: Routledge. pp. 1–26.
  • Brantlinger, Patrick. 1988. Rule of Darkness. British Literature and Imperialism, 1830–1914. Ithaca and London: Cornell University
  • Diawara, Manthia. 1992. African Cinema. Politics & Culture. Bloomington & Indianapolis: Indiana University Press.
  • Geschiere, Peter. 1997. The Modernity of Witchcraft. Politics and the Occult in Postcolonial Africa. Charlottesville and London: University Press of Virginia
  • Gifford, Paul. 1994. "Ghana’s Charismatic Churches". Journal of Religion in Africa 64 (3): 241-65
  • Gifford, Paul. 1998 African Christianity. Its Public Role. Bloomington and Indianapolis: Indianan University Press
  • Gunning, Tom. 1989. "An Aesthetic of Astonishment". Art & Text 34 (Spring):*
  • Kramer, Fritz. 1987. Der rote Fes. †ber Besessenheit und Kunst in Afrika. Frankfurt am Main: AthenŠum.
  • Landau, Paul. 1994. "The Illumination of Christ in the Kalahari Desert". Representations 45 (Winter): 26-40.
  • McLuhan, Marshall. 1995 [1964] Understanding Media. The Extensions of Man. London: Routledge.
  • McQuire, Scott. 1998. Visions of Modernity. Representation, Memory, Time and Space in the Age of the Camera. London: Sage.
  • Mensah, G. B. 1989. "The Film Industry in Ghana — Development, Potentials and Constraints". University of Ghana, Legon: Unpublished thesis.
  • Meyer, Birgit. 1995. "Delivered from the Powers of Darkness. Confessions about Satanic Riches in Christian Ghana". Africa, Vol. 65 (2): 263—55.
  • Meyer, Birgit. "Make a complete break with the past. Memory and Post-colonial Modernity in Ghanaian Pentecostalist discourse". Journal of Religion in Africa XXVII (3):316–349.
  • Meyer, Birgit. 1999a. Translating the Devil. Religion and Modernity Among the Ewe in Ghana. Edinburgh: Edinburgh University Press.
  • Meyer, Birgit.1999b. "Popular Ghanaian Cinema and the African Heritage". Working Paper 7. The Hague: WOTRO-Project "Globalization and the Construction of Communal Identitie".
  • Middleton–Mends, Kofi. 1995. “Video-Production — Which Direction?” Unpublished paper.
  • Moore, Rachel. n.d. "Savage Theory. Cinema as Modern Magic". Manuscript.
  • Morton–Williams. 1953. Cinema in Rural Nigeria. A Field Study of the Impact of Fundamental-Education Films on Rural Audiences in Nigeria. West African Institute of Social and Economic Research, University College, Ibadan.
  • Neal, James H. 1966. Ju-ju in My Life. London: George G. Harap.
  • Pels, Peter. 1999. A Politics of Presence. Contacts Between Missionaries and Waluguru in Late Colonial Tanganyika. Chur: Harwood Academic Publishers.
  • Powdermaker, Hortense. 1950. Hollywood. The Dream Factory. USA: The Universal Library, Little Brown, and Company
  • Sakyi, Kwamina. 1996. "The Problems and Achievements of the Ghana Film Industry Corporation and the Growth and Development of the Film Industry in Ghana". University of Ghana, Legon: Unpublished thesis.
  • Sreberny–Mohammadi, Annabelle and Ali Mohammadi. 1994. Small Media, Big Revolution. Communication, Culture, and the Iranian Revolution. Minneapolis: University of Minnesota Press.
  • Starker, Steven. 1989. Evil Influences. Crusades Against the Mass Media. New Brunswick & London: Transaction Publishers.
  • Tyler, Parker. 1971[1947] Magic and Myth of the Movies. London: Secker & Warburg.
  • Ukadike, Nwachukwu Frank. 1994. Black African Cinema. Berkeley, Los Angeles, London: University of California Press.
  • Van der Geest, Sjaak. n.d. "Ybisa Wo Fie: Building a House in Akan Culture". Unpublished paper.
  • Verrips, Jojada. in press. "The State and the Empire of Evil" in J. Mitchell & P. Clough (eds), Powers of Good and Evil. Oxford: Berghahn Books.
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cinema, ghana, this, article, unclear, citation, style, references, used, made, clearer, with, different, consistent, style, citation, footnoting, december, 2017, learn, when, remove, this, template, message, also, known, ghana, film, industry, nicknamed, ghal. This article has an unclear citation style The references used may be made clearer with a different or consistent style of citation and footnoting December 2017 Learn how and when to remove this template message Cinema of Ghana also known as the Ghana Film Industry nicknamed Ghallywood 1 began when early film making was first introduced to the British colony of Gold Coast now Ghana in 1923 At the time only affluent people could see the films especially the colonial master of Gold Coast 2 3 4 In the 1950s film making in Ghana began to increase 5 6 7 8 Cinemas were the primary venue for watching films until home video became more popular 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 National Theatre of Ghana Accra Contents 1 Cinema in the colonial period 2 Ghana Film Industry Contemporary Ghana cinema 3 Notes 4 References 5 BibliographyCinema in the colonial period EditIn the early 1920s individuals in the private sector brought film to Ghana then Gold Coast by opening cinemas in urban areas By 1923 cinema has become a new form of entertainment and only the affluent could see the films that were exhibited at the cinemas Cinemas were for the first class society that is the colonial leaders and their top officials Later on cinema vans were used in rural areas citation needed In the 1948 when the colonial masters discovered that film besides its entertainment values could be used to brainwash and transform society in the direction of the filmmaker decided to establish the Gold Coast Film Unit at the Information Services Department of the colonial government Film became another system considered to be scientifically appropriate to influence society The Gold Coast Film Unit used green yellow Bedford buses to screen documentary films newsreels and government information films to the public Attendance was free Sakyi 1996 9 The films included propaganda films about World War II which were produced by the Colonial Film Unit CFU in London cf Diawara 1992 3 After the war the unit produced educational films and feature films for their African colonies The films were designed to contrast the Western civilised way of life with the African backward way of life They suggested superstitious customs should be ceased Diawara 1992 3 Ukadike 1994 44ff The Gold Coast Film Unit also produced films with local interest to encourage improvements in health crops living marketing and human co operation Middleton Mends 1995 1 Diawara 1992 5 In 1948 the Gold Coast Film Unit began to train local African film makers Films were exchanged with other British colonies in Africa Middleton Mends ibid 18 Ghana Film Industry Contemporary Ghana cinema EditThe cinema industry in Ghana also known as Ghana Film Industry formerly Ghallywood started in the early part of the 1980s Before Ghana Film Industry the government of Ghana who inherited the film industry from the colonial government was the only producer of films in the country The first president of Ghana Dr Kwame Nkrumah in 1964 established the Ghana Film Industry Corporation GFIC at Kanda in Accra which would become the country s capital in 1977 GFIC now houses TV3 a private Malaysian TV station 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 Ghana had professionally trained filmmakers who were employed by the government to produce films for the socioeconomic development of the country Legends such as Rev Chris Essie Mr Ernest Abbeyquaye Mr Kwaw Ansah and many others were all trained by the government under the leadership of President Nkrumah GFIC was established to use indigenous Ghanaian made films to reverse the negative impact of the films made by the colonial government and to restore the pride of being a Ghanaian and an African in the citizens The Ghana Film Industry Corporation was making films to serve the purpose of building self reliance in the African people More than 150 feature and documentary films were produced by the GFIC by the late 1960s After the overthrow of Nkrumah in 1966 the film industry in Ghana had a nose down In 1981 the first independent film Love Brewed in the African Pot was produced by Kwaw Ansah one of the legendary filmmakers in Ghana The film was shot on celluloid film 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 Video Home System VHS cameras were used to shoot feature length films from 1986 in Ghana The idea was to tell the Ghanaian and African narrative by the African Ghana was the first country in the world to use VHS cameras to shoot feature length films By the end of the 1980s Ghana could boast of a number of films produced in Ghana on VHS tapes cassettes Since the late 1980s the making of direct to video films has increased in Ghana citation needed Funds for cinematography were hard to come by for both the state owned Ghana Film Industry Corporation GFIC and for independent film makers Therefore people in Ghana began to make their own films using VHS video cameras The independent filmmakers created their own Ghanaian stories and scripts of the films assembled actors both professionals and amateurs and made successful films especially in Accra Income from these VHS video movies helped to support the film industry In the 1980s when the filmmakers started making the video films GFIC rose bitterly against it 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 GFIC prohibited their film directors to assist the independent producer in making the video films The consequence of this decision of GFIC caused the country to lose professionalism in the art of filmmaking in Ghana The producers were forced to start directing their own video films This culture of produce and direct without any professional training on filmmaking would become the controllable culture in the next three decades 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 Their films had become very popular since the Ghanaians were seeing true narratives of who they were through these films made by indigenous Ghanaian filmmakers By the early 1990s approximately fifty VHS video movies per year were made in Ghana 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 The GFIC was renamed Gama Media System Ltd This also affected the rising film industry in the country very badly GFIC was incharge of about half the cinema theatres in the country at the time The sales of the 70 of GFIC collapsed the cinema industry The company had little interest in film making and so the film industry in Ghana continued with independent film makers whose funding relied on the popular appeal of the films 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 20 Twi dialect movies are known as Kumawood films English speaking Ghanaian films are sometimes known as Ghallywood productions And all the films made in Ghana are referred to us the Ghana Films since they is no official name yet 21 sources 2 Films depicting African witchcraft are popular in Ghana despite criticism being directed towards them sources 3 Ghana produces low budget visual effects films These include 2016 2010 and Obonsam Besu The Devil Will Cry 34 35 36 In about 1997 Ghanaians and Nigerians started making collaboration films that introduced Nigerian film directors such as Ifeanyi Onyeabor a k a Big Slim Rev 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 He also grew to become a movie director and collaborated with Venus Films a Ghanaian production company to produce a number of films that brought out Ghanaian popular actors who could access work in Nigeria Nollywood Some of the actors included Van Vicker Jackie Appiah Majid Michel Yvonne Nelson John Dumelo Nadia Buari and Yvonne Okoro Some Nigerian producers have filmed in Ghana where production costs are lower 37 In 2017 the Ndiva Women s Film Festival an African film festival for women filmmakers and audiences was established in Accra 38 Notes Edit 9 10 11 12 13 14 15 16 22 23 24 25 26 27 28 29 30 31 32 33 References Edit Starrfm com gh 2021 12 18 Tourism Ministry suspends new name for Ghana film industry Starr Fm Retrieved 2022 06 23 Frindethie K Martial 24 March 2009 Francophone African Cinema History Culture Politics and Theory McFarland ISBN 9780786453566 via Google Books Ghana Movies The beginning of the end Part 1 Ghanamagazine com 24 November 2011 Archived from the original on 3 November 2016 Retrieved 12 September 2016 Martin Michael T 1 January 1995 Cinemas of the Black Diaspora Diversity Dependence and Oppositionality Wayne State University Press ISBN 0814325882 via Google Books Storytelling from the Margins Accra s Emerging Cinema Shifts National Memory accradotaltradio com 7 June 2016 The New Face Of Cinema In Ghana Globe Entertainment 13 August 2015 Davis Lauren 9 September 2009 The Curious Art of Ghana s Mobile Movie Posters gizmodo com Frindethie K Martial 24 March 2009 Francophone African Cinema History Culture Politics and Theory McFarland ISBN 9780786453566 via Google Books Mammadyarov Riyad 2016 02 09 Watch Experience the Power of Ghanaian Cinema in Exclusive Nakom Trailer IndieWire Indiewire com Retrieved 31 May 2017 Yamoah Michael The New Wave in Ghana s Video Film Industry Exploring the Kumawood Model Ijictm org Archived from the original on 2018 09 23 Retrieved 17 September 2016 Brown Ryan Lenora 4 February 2016 How Ghana s Gory Gaudy Movie Posters Became High Art The Atlantic Salm Steven J Falola Toyin 1 January 2002 Culture and Customs of Ghana Greenwood Publishing Group ISBN 9780313320507 via Internet Archive Meyer Birgit 16 October 2015 Sensational Movies Video Vision and Christianity in Ghana University of California Press ISBN 9780520962651 via Google Books Saul Mahir Austen Ralph A 12 October 2010 Viewing African Cinema in the Twenty First Century Art Films and the Nollywood Video Revolution Ohio University Press ISBN 9780821419311 via Google Books Hayward Susan 3 January 2013 Cinema Studies The Key Concepts Routledge ISBN 9781135120856 via Google Books Ukadike Nwachukwu Frank 1 May 1994 Black African Cinema University of California Press ISBN 9780520912366 via Google Books Blackstar Films suspended as new brand name for GH film industry Ghana Weekend 2021 12 18 Retrieved 2022 06 23 Meyer Birgit Ghanaian Popular Cinema and the Magic in and of Film African Film Festival Inc Retrieved 2022 01 14 The Video Film Industry PDF Content ucpress edu Retrieved 31 May 2017 Meyer Birgit Pels Peter 31 May 2017 Magic and Modernity Interfaces of Revelation and Concealment Stanford University Press ISBN 9780804744645 Retrieved 31 May 2017 via Google Books Ministry of Tourism suspends new name for Ghana Movie Industry Graphic Online Retrieved 2022 06 23 Adjorlolo Kumawood actors not primitive Class FM Online M classfmonline com Retrieved 26 September 2016 Christie Marian 26 March 2016 Ellen White I don t belong to Kumawood Ghana Live TV Retrieved 26 September 2016 I m not a Kumawood actor but rep Ghallywood Ellen White Ghanaweb com 26 March 2016 Retrieved 26 September 2016 Ghallywood Opens Up To Media Modernghana com 28 May 2011 Retrieved 26 September 2016 Tamakloe Aseye June 2013 Social representation in Ghanaian cinema PDF Ugspace ug edu gh Retrieved 17 September 2016 Garritano Carmela African Video Movies and Global Desires PDF Ohioswallow com Retrieved 17 September 2016 Flex Newspaper Action Movies Can Scare Witches Ashbowa Ampadu Vivian E D The Depiction of Mental Illness in Nigerian and Ghanaian movies A negative or positive impact on mental health awareness in Ghana PDF Disability studies leeds ac uk Archived from the original PDF on 11 January 2017 Retrieved 17 September 2016 Badoe Yaba Representing Witches in contemporary Ghana challenges and reflections on making the Witches of Gambaga PDF Feminist Africa Retrieved 4 October 2020 Filmmaker battles to save Ghana s historic cinema Voices of Africa Voicesofafrica co za 22 November 2013 Samuel Ofori fires producers of witchcraft movies Entertainment Ghanaweb com 28 June 2016 Retrieved 19 April 2017 Adinkrah Mensah 30 August 2015 Witchcraft Witches and Violence in Ghana Berghahn Books ISBN 9781782385615 via Google Books Lamar Cyriaque Lama 14 November 2011 2016 the trailer for Ghana s Predator is the best thing you ll see all day io9 Retrieved 16 December 2016 Carter Grey 18 November 2011 Devil May Cry The Movie The Escapist Retrieved 16 November 2016 Asiedu William A Ghana news Graphic Online Graphic Online Nollywood Lights camera Africa The Economist 16 December 2010 Retrieved 20 February 2015 Hagan John Elliot Ndiva Women s Film Festival launched The Finder 27 June 2017 Bibliography EditAllen Robert C 1995 Introduction In R C Allen ed To be Continued Soap Operas Around the World London Routledge pp 1 26 Brantlinger Patrick 1988 Rule of Darkness British Literature and Imperialism 1830 1914 Ithaca and London Cornell University Diawara Manthia 1992 African Cinema Politics amp Culture Bloomington amp Indianapolis Indiana University Press Geschiere Peter 1997 The Modernity of Witchcraft Politics and the Occult in Postcolonial Africa Charlottesville and London University Press of Virginia Gifford Paul 1994 Ghana s Charismatic Churches Journal of Religion in Africa 64 3 241 65 Gifford Paul 1998 African Christianity Its Public Role Bloomington and Indianapolis Indianan University Press Gunning Tom 1989 An Aesthetic of Astonishment Art amp Text 34 Spring Kramer Fritz 1987 Der rote Fes ber Besessenheit und Kunst in Afrika Frankfurt am Main AthenSum Landau Paul 1994 The Illumination of Christ in the Kalahari Desert Representations 45 Winter 26 40 McLuhan Marshall 1995 1964 Understanding Media The Extensions of Man London Routledge McQuire Scott 1998 Visions of Modernity Representation Memory Time and Space in the Age of the Camera London Sage Mensah G B 1989 The Film Industry in Ghana Development Potentials and Constraints University of Ghana Legon Unpublished thesis Meyer Birgit 1995 Delivered from the Powers of Darkness Confessions about Satanic Riches in Christian Ghana Africa Vol 65 2 263 55 Meyer Birgit Make a complete break with the past Memory and Post colonial Modernity in Ghanaian Pentecostalist discourse Journal of Religion in Africa XXVII 3 316 349 Meyer Birgit 1999a Translating the Devil Religion and Modernity Among the Ewe in Ghana Edinburgh Edinburgh University Press Meyer Birgit 1999b Popular Ghanaian Cinema and the African Heritage Working Paper 7 The Hague WOTRO Project Globalization and the Construction of Communal Identitie Middleton Mends Kofi 1995 Video Production Which Direction Unpublished paper Moore Rachel n d Savage Theory Cinema as Modern Magic Manuscript Morton Williams 1953 Cinema in Rural Nigeria A Field Study of the Impact of Fundamental Education Films on Rural Audiences in Nigeria West African Institute of Social and Economic Research University College Ibadan Neal James H 1966 Ju ju in My Life London George G Harap Pels Peter 1999 A Politics of Presence Contacts Between Missionaries and Waluguru in Late Colonial Tanganyika Chur Harwood Academic Publishers Powdermaker Hortense 1950 Hollywood The Dream Factory USA The Universal Library Little Brown and Company Sakyi Kwamina 1996 The Problems and Achievements of the Ghana Film Industry Corporation and the Growth and Development of the Film Industry in Ghana University of Ghana Legon Unpublished thesis Sreberny Mohammadi Annabelle and Ali Mohammadi 1994 Small Media Big Revolution Communication Culture and the Iranian Revolution Minneapolis University of Minnesota Press Starker Steven 1989 Evil Influences Crusades Against the Mass Media New Brunswick amp London Transaction Publishers Tyler Parker 1971 1947 Magic and Myth of the Movies London Secker amp Warburg Ukadike Nwachukwu Frank 1994 Black African Cinema Berkeley Los Angeles London University of California Press Van der Geest Sjaak n d Ybisa Wo Fie Building a House in Akan Culture Unpublished paper Verrips Jojada in press The State and the Empire of Evil in J Mitchell amp P Clough eds Powers of Good and Evil Oxford Berghahn Books Richard Yaw Boateng National President of Film Directors Guild of Ghana FDGG 2015 Retrieved from https en wikipedia org w index php title Cinema of Ghana amp oldid 1114380371, wikipedia, wiki, book, books, library,

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