The rise of the mainstream video industry has been significant towards socio-cultural and economic development in Ghana; however, this study will not focus on the impacts of the video industry of Ghana. This article primarily examines the image construction of Ghana in video-films. Over the past few years, videofilms in Post-colonial Ghana have often been critiqued by film scholars and critics for reinforcing superstitious beliefs and instigating backward tendencies that derail national development. Normative scholarships have critically explored the visuality of Ghanaian video-films and their themes. Nonetheless, these normative scholarships have often overlooked the nexus between the Ghanaian society and video texts. It is against this scholarly gap that this study engages the meta-question of how video-films project Ghana in their texts. This article will engage a critical textual reading of a few popular films from the Pentecostal and Occult genres to contextualize the ideological sub-texts and the image construction of Ghana in these selected video-films. I argue that major ‘postmodern’ thematic concerns in Ghanaian video-films considerably denigrate and malign Ghana’s image, as well as neglect issues of national interests.

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后殖民：加纳在视频电影中的投影

主流视频产业的兴起对加纳的社会文化和经济发展具有重要意义；但是，本研究不会关注加纳视频行业的影响。本文主要研究加纳在视频电影中的形象构建。在过去的几年里，后殖民加纳的视频电影经常被电影学者和评论家批评为强化迷信信仰和煽动阻碍国家发展的落后趋势。规范性奖学金批判性地探索了加纳视频电影及其主题的视觉效果。尽管如此，这些规范性学术研究往往忽视了加纳社会与视频文本之间的联系。正是针对这一学术鸿沟，本研究提出了视频电影如何在其文本中投射加纳的元问题。本文将对来自五旬节和神秘类型的几部流行电影进行批判性文本阅读，以将这些选定的视频电影中的意识形态潜文本和加纳的形象构建置于语境中。我认为加纳视频电影中主要的“后现代”主题关注极大地诋毁和诽谤加纳的形象，同时忽视了国家利益问题。