Mirrors of movement: Aina , Afzal Chowdhury's cinematography and the interlinked histories of cinema in Pakistan and Bangladesh
Mirrors of movement: Aina , Afzal Chowdhury's cinematography and the interlinked histories of cinema in Pakistan and Bangladesh
复制标题
运动之镜：艾娜、阿夫扎尔·乔杜里的电影摄影以及巴基斯坦和孟加拉国相互关联的电影史
作者：
Hoek L
1977年，一部电影在巴基斯坦上映，打破了所有票房纪录。在卡拉奇的一个电影院里连续放映了五年，《爱娜/镜子》（Nazrul Islam，1977）大受欢迎。这是一个社交女孩和她忠实情人的故事，叙事没有什么创新;类似的故事过去是，现在也是南亚电影业的主要内容。这部电影的其他吸引力，指挥大量的重复观看，如其迷人的演员，朗朗上口的配乐和壮观的摄影卡拉奇。1我们如何将艾娜置于巴基斯坦乌尔都语电影的历史轨迹中？在东巴基斯坦成为孟加拉国、西巴基斯坦成为巴基斯坦之后很久才上映，我认为这部电影的创新和吸引力仍然应该被视为1971年之前巴基斯坦两翼电影人员长期合作和流动的结果。巴基斯坦和孟加拉国的电影史大多是作为不同的故事讲述的，尽管在同一个国家里，这两个翅膀存在了24年的形成期。[2]本文关注的更大的问题是东巴基斯坦和西巴基斯坦之间的互动对巴基斯坦和孟加拉国电影史的长期影响。我曾在其他地方论证过，这两条轨迹是复杂地相互关联的，3在这里，我想建议我们对孟加拉国和
In 1977 a film was released in Pakistan that broke all box-office records. Running continuously for five years in a Karachi cinema hall, Aina/Mirror (Nazrul Islam, 1977) was a massive hit. The story of a society girl and her devoted lover, the narrative offered little innovation; similar tales were, and are, a staple of South Asian film industries. It was the film’s other attractions that commanded the huge volume of repeat viewing, such as its glamorous actors, catchy soundtrack and spectacular photography of Karachi. 1How might we place Aina within the historical trajectories of Urdu cinema in Pakistan? Released well after East Pakistan became Bangladesh and West Pakistan became Pakistan, I suggest that the film’s innovations and attractions should nonetheless be seen as an outcome of the longstanding collaborations between and movement by film personnel across the two wings of Pakistan before 1971. The histories of cinema in Pakistan and Bangladesh are mostly told as separate stories, despite the fact that for twenty-four formative years the two wings existed in the one country. 2 The larger issue that this essay attends to is the long-term impact of the interactions between East and West Pakistan on the histories of cinema in Pakistan and Bangladesh. I have argued elsewhere that these two trajectories are complexly interlinked, 3 and here I want to suggest that our accounts of the cinema in both Bangladesh and