In the 1970s, 1980s, and 1990s, Ghana was regarded as a leading centre of film and television production in West Africa. Productions such as Osofo Dadzie, Obra, Things We Do for Love, Ultimate Paradise, Inspector Bediako, and numerous local films dominated screens and captured the imagination of audiences.
A Lost Giant: Ghana's Film Industry in Decline
Ghana's once-thriving movie sector has struggled for visibility, investment, and market share, with Nigeria's Nollywood becoming a global brand in the process. Like Nokia, the former king of mobile phones, Ghana's film industry failed to adapt to changing consumer preferences, new technologies, and emerging competitors.
When many Nigerians came to Ghana to acquire filmmaking skills and technical knowledge, Ghanaian content was broadcast on Nigerian television stations, and Ghana's filmmakers were respected across the region. However, the industry's failure to evolve with the changing landscape, including the rise of digital distribution and streaming platforms, has led to a significant decline.
The Turning Point
The problem with being a leader is that success can create a false sense of security. Ghana's industry struggled to build a sustainable ecosystem, with production houses operating largely in isolation or silos, investment declining, distribution networks weakening, piracy flourishing, and government support remaining inconsistent. Meanwhile, Nigeria was building an industry, not just producing films.
Nollywood focused on volume, market penetration, audience development, and distribution, creating films that resonated with local audiences while targeting the wider African market and the diaspora. As satellite television expanded and streaming platforms emerged, Nollywood was ready to take advantage of the new opportunities. Ghana, despite possessing immense talent and storytelling potential, was largely left behind.
The Nokia Syndrome
The lesson from Nokia's decline is not that the company lacked talent or resources. Rather, Nokia failed to recognise that the industry had changed. The same can be said about Ghana's film sector. For years, discussions have focused on a lack of funding, piracy, government neglect, and competition. However, these challenges do not fully explain the decline.
The bigger issue is that the industry did not adapt quickly enough to new realities such as digital distribution, streaming platforms, audience analytics, international co-productions, content marketing, brand partnerships, intellectual property monetisation, and global audience targeting. The world changed, but much of Ghana's film ecosystem continued operating under old assumptions.
What Exactly Did Ghana Lose?
The loss was not merely economic; it was deeply cultural. In the 1970s, 1980s, and 1990s, Ghanaian stories reflected Ghanaian realities. They preserved our languages, customs, values, humour, and social experiences. The film industry was not just creating entertainment; it was documenting who we were as a people: our architecture, fashion sense, lifestyle, and developmental transitions.
As the industry's influence declined, Ghana gradually lost a significant portion of its cultural voice in the African media space. Today, many young Africans are more familiar with Nigerian cities, slang, fashion, and cultural references than they are with Ghanaian culture. This is not because Ghana lacks stories worth telling, but because stories that are not consistently told, produced, and distributed eventually become invisible.
The Cost of Nostalgia
One of the greatest dangers facing the Ghana film industry is excessive nostalgia. Industry conversations often begin with phrases such as "Those were the good old days" and "We used to be ahead of Nigeria." However, dwelling on the past will not revive the industry's former glory. Instead, it is time for Ghana's film sector to adapt to the changing landscape and learn from the successes and failures of its Nigerian counterpart.
By embracing new technologies, building a sustainable ecosystem, and focusing on volume, market penetration, and distribution, Ghana's film industry can reclaim its position as a leading centre of film and television production in West Africa. The time for nostalgia is over; it is time for action.
Source: Joy Online
