A word About illuStr AtionS
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 generic
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 produc-
tion, which form important components of the movies’ publicity, exhibition,
and reception. Like the movies themselves, this art also evolved through time,
an evolution discernable in the posters included in the present volumes. Car-
toons and other material objects about cinema demonstrate the wider circula-
tion of things filmic among Iranians. The flyers announcing film screenings
and cultural and political events featuring screenings served as important ve-
hicles in exile for advertising, political agitprop, and film exhibition immedi-
ately after the revolution of 1978–79. They provide a good sense of the films,
of the political culture of the time, and of the sponsoring groups. Finally, 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 regulations concern-
ing censorship and the banning of movies. Because of the diversity of sources
and the deterioration of some films and videos, the quality of the pictorial il-
lustrations varies.
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