{"title":"Editors' Note: On a Press Booklet for Black Eyes (1936)","authors":"Kaveh Askari, Samhita Sunya","doi":"10.2979/filmhistory.32.3.08","DOIUrl":null,"url":null,"abstract":"ABSTRACT:A 1935 press booklet—mostly in Persian, with one section in English—high lights Iranian actress Fakhri Vaziri as the major attraction of Black Eyes (1936). Black Eyes was the third of the first five Iranian talkies by Abdolhossein Sepanta, all of which were produced in India. The earliest of these productions was directed by Ardeshir Irani in collaboration with Sepanta. Only the first of these features, The Lor Girl (1933), remains accessible for viewing in a form that is more than a collection of fragments. In the absence of the film, the booklet for Black Eyes offers an opportunity to consider the relationship between publicity materials and films in a transregional context. It also points to the specific challenges that visual and print ephemera posed to colonial film policy in light of a 1935 debate over the censorship of promotional materials.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"3 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Film History: An International Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2979/filmhistory.32.3.08","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT:A 1935 press booklet—mostly in Persian, with one section in English—high lights Iranian actress Fakhri Vaziri as the major attraction of Black Eyes (1936). Black Eyes was the third of the first five Iranian talkies by Abdolhossein Sepanta, all of which were produced in India. The earliest of these productions was directed by Ardeshir Irani in collaboration with Sepanta. Only the first of these features, The Lor Girl (1933), remains accessible for viewing in a form that is more than a collection of fragments. In the absence of the film, the booklet for Black Eyes offers an opportunity to consider the relationship between publicity materials and films in a transregional context. It also points to the specific challenges that visual and print ephemera posed to colonial film policy in light of a 1935 debate over the censorship of promotional materials.
摘要:1935年出版的一本小册子——大部分是波斯语,有一部分是英语——把伊朗女演员法赫里·瓦齐里作为《黑眼睛》(1936)的主要吸引力。《黑眼睛》是阿卜杜尔侯赛因·塞潘塔前五部伊朗有声电影中的第三部,这五部电影都是在印度制作的。这些作品中最早的是由Ardeshir Irani与Sepanta合作执导的。只有第一部作品《少女》(the Lor Girl, 1933)以一种不仅仅是片段的集合的形式保留了下来。在没有电影的情况下,《黑眼睛》的小册子提供了一个在跨区域背景下考虑宣传材料和电影之间关系的机会。它还指出,根据1935年关于审查宣传材料的辩论,视觉和印刷的短暂性给殖民电影政策带来了具体的挑战。