a word about illustrations
have used several types of illustration here, each providing supplementary
or complementary material to the text. Production stills show something
of the behind-the-scenes process. Frame enlargements, taken directly from
films or videos, offer visuals for textual analyses of the films’ aesthetic and ge-
neric systems. Posters offer not only an encapsulated rendition of the film by
artists other than filmmakers but also showcase the art of poster design and
production, which form important components of the movies’ publicity, ex-
hibition, and reception. Like the movies themselves, this art also evolved over
time, an evolution discernable in the posters included in the present volumes.
Cartoons and other material objects about cinema demonstrate the wider cir-
culation of things filmic among Iranians. The flyers announcing film screen-
ings and cultural and political events featuring screenings served as impor-
tant vehicles in exile for advertising, political agitprop, and film exhibition
immediately after the 1978–79 revolution. They provide a good sense of the
films, of the political culture of the time, and of the sponsoring groups. Fi-
nally, the many tables in the book offer other forms of data for the analysis of
the films’ cultural contexts, such as audience demography, production output,
film export and import, organizations involved in production, and the regula-
tions concerning censorship and banning of movies. Because of the diversity
of sources and the deterioration of some films and videos, the quality of the
pictorial illustrations varies.
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