Renowned Nigerian filmmaker and producer Uchenna Mbunabo has publicly condemned some Ghanaian television stations over what he describes as the rampant unauthorized broadcast of his movies, accusing them of illegally downloading his films from YouTube and airing them without obtaining the necessary licenses or permission.

The outspoken producer did not hide his frustration, describing the practice as outright theft that deprives filmmakers of the financial returns from years of hard work and investment.

“I noticed that some Ghana TV stations are stealing our films, showing them for free with impunity. Is it legalized in your country for a TV station to go on YouTube and download people’s sweat and show it?” Mbunabo questioned.

His comments have reignited conversations about copyright enforcement in Ghana’s television industry, an issue filmmakers across Ghana and Nigeria have complained about for several years.

Mbunabo, whose productions frequently feature some of Ghana’s biggest stars, expressed disappointment that despite his strong relationship with Ghana’s film industry, some broadcasters continue to exploit filmmakers’ works without authorization.

The producer emphasized that his YouTube channel serves as a legitimate revenue source through advertising and digital distribution, and unauthorized television broadcasts significantly reduce online viewership and earnings.

“Let me speak for myself. I love Ghanaian actors. I can never do a movie without Ghanaians. Inasmuch as I love them, I also want to make money by putting it on YouTube with Ghanaians watching my movie. But now I will do it; they will show it on TV for free. It’s very disheartening. I feel like crying,” he lamented.

For many African filmmakers, YouTube has become one of the primary distribution platforms, generating revenue through advertisements, premium subscriptions, and licensed digital streaming. When television stations rebroadcast those same productions without authorization, producers lose significant online traffic and advertising income.

Responding to Mbunabo’s concerns, Ghanaian actor and Deputy Executive Secretary of the National Film Authority (NFA), James Gardiner, acknowledged that unauthorized television broadcasts remain one of the industry’s biggest challenges.

Gardiner assured both Ghanaian and international filmmakers that government agencies are collaborating to tighten regulations governing television broadcasting.

According to him, the National Film Authority has already begun consultations with the Ministry of Communication, Digital Technology and Innovations, the National Media Commission (NMC), and the National Communications Authority (NCA) to introduce stricter oversight, particularly for digital television stations.

“That’s one of the very big things that we have been trying to address. We’ve met with the Ministry of Communication together with NMC and NCA; they govern our TV space in the country, and we’re trying to make laws so that all the TV stations will come under one umbrella,” Gardiner explained.

Although Ghana already has copyright legislation, Gardiner admitted that enforcing the law has become increasingly difficult because many digital broadcasters operate without permanent physical offices.

Some stations, he explained, transmit content online while operating from outside Ghana, making regulatory enforcement considerably more challenging.

“There is, but it’s ineffective because a lot of the TV stations don’t have offices because now we have digital TV stations. They operate from anywhere. They can even have a Ghanaian TV station operating from Austria just because it’s digital. So, we’re trying to find a way to revoke all licenses, and then everybody will now come and apply,” he stated.

The proposed reforms would require television stations to reapply for operating licenses, enabling regulators to properly identify broadcasters and ensure compliance with copyright and broadcasting regulations.

Gardiner expressed confidence that the reforms could be implemented by next year.

“By next year it should be done. Yes, Inshallah. It’s a process, but we will get there.”

One of the most significant proposals under consideration is the introduction of a strict penalty regime for copyright offenders.

According to Gardiner, television stations found guilty of illegally broadcasting copyrighted content would face escalating sanctions.

“One hundred percent penalty. First of all, whatever fine they get will come to you. If they do the offense two times, their license will be suspended; the third time, off. They will cancel their license.”

If implemented, the measures would represent one of the strongest enforcement mechanisms ever introduced in Ghana’s broadcasting industry.

Uchenna Mbunabo, Nigerian Film Producer

Under Ghana’s Copyright Act, 2005 (Act 690), as amended, creators of original works, including films, television productions, music, literary works, and artistic creations, enjoy exclusive rights over how their works are reproduced, distributed, broadcast, performed, adapted, or communicated to the public.

These exclusive rights mean that:

• A television station cannot legally download a movie from YouTube and broadcast it without obtaining permission from the copyright owner or an authorized distributor.
• Uploading content to YouTube does not place it in the public domain or waive the creator’s copyright.
• Copyright owners retain the exclusive right to authorize broadcasts, reproductions, and commercial exploitation of their works.
• Unauthorized broadcasting may expose offenders to civil remedies such as damages, injunctions, and the seizure of infringing materials, while serious infringements may also attract criminal sanctions under Ghanaian law.

Legal experts have consistently noted that copyright protection applies regardless of whether the content is accessed online, on physical media, or through subscription platforms.

Movie piracy has remained one of the most persistent obstacles facing Ghana’s creative industry.

For years, filmmakers have complained that unauthorized broadcasts by television stations, illegal DVD duplication, and online piracy continue to discourage investment in film production.

The issue extends beyond Ghanaian productions, affecting international producers whose works are broadcast locally without licensing agreements.

Industry stakeholders argue that the practice not only reduces revenue for filmmakers but also undermines investor confidence in Ghana’s growing creative economy.

As digital platforms increasingly become the preferred method of film distribution across Africa, stronger copyright enforcement is widely regarded as essential to protecting intellectual property and ensuring that creators are fairly compensated for their work.

The National Film Authority’s proposed licensing reforms are expected to be closely monitored by filmmakers, broadcasters, and content creators across West Africa.

Should the new regulatory framework be successfully implemented, it could significantly strengthen copyright compliance, improve accountability among broadcasters, and restore confidence in Ghana’s audiovisual industry.

For producers like Uchenna Mbunabo, whose films enjoy a loyal audience in Ghana, the hope is simple: that creative works are respected, licensed properly, and allowed to generate the revenue needed to sustain future productions.

As Ghana positions itself as a hub for the creative arts under its broader cultural and economic development agenda, the outcome of these reforms could prove pivotal in shaping the future of film distribution and intellectual property protection in the country.

Renowned Nigerian filmmaker and producer Uchenna Mbunabo has publicly condemned some Ghanaian television stations over what he describes as the rampant unauthorized broadcast of his movies, accusing them of illegally downloading his films from YouTube and airing them without obtaining the necessary licenses or permission.

The outspoken producer did not hide his frustration, describing the practice as outright theft that deprives filmmakers of the financial returns from years of hard work and investment.

“I noticed that some Ghana TV stations are stealing our films, showing them for free with impunity. Is it legalized in your country for a TV station to go on YouTube and download people’s sweat and show it?” Mbunabo questioned.

His comments have reignited conversations about copyright enforcement in Ghana’s television industry, an issue filmmakers across Ghana and Nigeria have complained about for several years.

Mbunabo, whose productions frequently feature some of Ghana’s biggest stars, expressed disappointment that despite his strong relationship with Ghana’s film industry, some broadcasters continue to exploit filmmakers’ works without authorization.

The producer emphasized that his YouTube channel serves as a legitimate revenue source through advertising and digital distribution, and unauthorized television broadcasts significantly reduce online viewership and earnings.

“Let me speak for myself. I love Ghanaian actors. I can never do a movie without Ghanaians. Inasmuch as I love them, I also want to make money by putting it on YouTube with Ghanaians watching my movie. But now I will do it; they will show it on TV for free. It’s very disheartening. I feel like crying,” he lamented.

For many African filmmakers, YouTube has become one of the primary distribution platforms, generating revenue through advertisements, premium subscriptions, and licensed digital streaming. When television stations rebroadcast those same productions without authorization, producers lose significant online traffic and advertising income.

Deputy Executive Secretary of the National Film Authority (NFA), James Gardiner

Responding to Mbunabo’s concerns, Ghanaian actor and Deputy Executive Secretary of the National Film Authority (NFA), James Gardiner, acknowledged that unauthorized television broadcasts remain one of the industry’s biggest challenges.

Gardiner assured both Ghanaian and international filmmakers that government agencies are collaborating to tighten regulations governing television broadcasting.

According to him, the National Film Authority has already begun consultations with the Ministry of Communication, Digital Technology and Innovations, the National Media Commission (NMC), and the National Communications Authority (NCA) to introduce stricter oversight, particularly for digital television stations.

“That’s one of the very big things that we have been trying to address. We’ve met with the Ministry of Communication together with NMC and NCA; they govern our TV space in the country, and we’re trying to make laws so that all the TV stations will come under one umbrella,” Gardiner explained.

Although Ghana already has copyright legislation, Gardiner admitted that enforcing the law has become increasingly difficult because many digital broadcasters operate without permanent physical offices.

Some stations, he explained, transmit content online while operating from outside Ghana, making regulatory enforcement considerably more challenging.

“There is, but it’s ineffective because a lot of the TV stations don’t have offices because now we have digital TV stations. They operate from anywhere. They can even have a Ghanaian TV station operating from Austria just because it’s digital. So, we’re trying to find a way to revoke all licenses, and then everybody will now come and apply,” he stated.

The proposed reforms would require television stations to reapply for operating licenses, enabling regulators to properly identify broadcasters and ensure compliance with copyright and broadcasting regulations.

Gardiner expressed confidence that the reforms could be implemented by next year.

“By next year it should be done. Yes, Inshallah. It’s a process, but we will get there.”

One of the most significant proposals under consideration is the introduction of a strict penalty regime for copyright offenders.

According to Gardiner, television stations found guilty of illegally broadcasting copyrighted content would face escalating sanctions.

“One hundred percent penalty. First of all, whatever fine they get will come to you. If they do the offense two times, their license will be suspended; the third time, off. They will cancel their license.”

If implemented, the measures would represent one of the strongest enforcement mechanisms ever introduced in Ghana’s broadcasting industry.

Under Ghana’s Copyright Act, 2005 (Act 690), as amended, creators of original works, including films, television productions, music, literary works, and artistic creations, enjoy exclusive rights over how their works are reproduced, distributed, broadcast, performed, adapted, or communicated to the public.

These exclusive rights mean that:

• A television station cannot legally download a movie from YouTube and broadcast it without obtaining permission from the copyright owner or an authorized distributor.
• Uploading content to YouTube does not place it in the public domain or waive the creator’s copyright.
• Copyright owners retain the exclusive right to authorize broadcasts, reproductions, and commercial exploitation of their works.
• Unauthorized broadcasting may expose offenders to civil remedies such as damages, injunctions, and the seizure of infringing materials, while serious infringements may also attract criminal sanctions under Ghanaian law.

Legal experts have consistently noted that copyright protection applies regardless of whether the content is accessed online, on physical media, or through subscription platforms.

A Longstanding Challenge for Ghana’s Film Industry

Movie piracy has remained one of the most persistent obstacles facing Ghana’s creative industry.

For years, filmmakers have complained that unauthorized broadcasts by television stations, illegal DVD duplication, and online piracy continue to discourage investment in film production.

The issue extends beyond Ghanaian productions, affecting international producers whose works are broadcast locally without licensing agreements.

Industry stakeholders argue that the practice not only reduces revenue for filmmakers but also undermines investor confidence in Ghana’s growing creative economy.

As digital platforms increasingly become the preferred method of film distribution across Africa, stronger copyright enforcement is widely regarded as essential to protecting intellectual property and ensuring that creators are fairly compensated for their work.

The National Film Authority’s proposed licensing reforms are expected to be closely monitored by filmmakers, broadcasters, and content creators across West Africa.

Should the new regulatory framework be successfully implemented, it could significantly strengthen copyright compliance, improve accountability among broadcasters, and restore confidence in Ghana’s audiovisual industry.

For producers like Uchenna Mbunabo, whose films enjoy a loyal audience in Ghana, the hope is simple: that creative works are respected, licensed properly, and allowed to generate the revenue needed to sustain future productions.

As Ghana positions itself as a hub for the creative arts under its broader cultural and economic development agenda, the outcome of these reforms could prove pivotal in shaping the future of film distribution and intellectual property protection in the country.