كليدواژه :
تاريخ تاسيس سينماهاي شيراز , دوره پهلوي , كاركرد فرهنگي سينماها , سينما و ايران
چكيده فارسي :
صنعت نوپاي سينما در ايران در دوران پهلوي به‌عنوان يكي از مهم‌ترين مظاهر فرهنگي مدرن مورد توجه ويژه قرار گرفت. سينما بهره‌وري اقتصادي مطلوبي نيز داشت و اين موضوع موجب تاسيس و گسترش سالن‌هاي نمايش عمومي فيلم در شهرهاي بزرگ ايران من‌جمله شيراز شد. بر اين اساس، در اين مقاله سابقه تاسيس و تحولات تاريخي سينماهاي شيراز، به‌انضمام مشخصات كلي و شيوه فعاليت آنها، در دوران پهلوي، با استناد به اسناد و مكاتبات معتبر بررسي خواهد شد. يافته‌هاي اين پژوهش نشان مي‌دهد كه طي سال‌هاي 1308-1348 لااقل سيزده سالن سينماي مستقل در شيراز تاسيس شده است، كه رشد اصلي آنها مربوط به دو دهه پاياني مي‌شود. اين سينماها اعم از سينما پارس، تاج، ركس، ايران، مترو، دنيا، سينما تياتر شيراز، سعدي، پاسارگاد، پرسپوليس، كاپري، پارامونت و آريانا بوده است. البته اكثر اين سالن‌ها، به علل مختلفي، مانند تغيير مالكيت يا نوسازي و افتتاح مجدد، چندين مرتبه تغيير نام پيدا كرده‌اند. با توجه به مكان تجمع، حرفه و موقعيت اجتماعي مالكان، و نوع فعاليت و تحولات سينماهاي شيراز در دوره پهلوي به نظر مي‌رسد كسب منافع اقتصادي در تاسيس و مديريت اين سينماها بر جنبه‌هاي فرهنگي و هنري رجحان داشته است. با اين حال، از دهه چهل شمسي با برگزاري جشنواره‌هاي بين‌المللي فيلم و فستيوال‌هاي هنري در شيراز بر كاركرد فرهنگي سينماها افزوده شده است.
چكيده لاتين :
The recently-founded industry of cinema in Iran during Pahlavi era was one of the most important modern cultural manifestations. Cinema has also had optimum economic efficiency and this matter caused public film saloons to be established and developed in major cities of Iran, including Shiraz. Accordingly, in this paper records of the establishment and historical evolution of Shiraz cinemas, besides general particulars and methods of their activities during Pahlavi era have been studied through valuable documents. Findings of this research show that during 1929-69, at least thirteen independent cinemas were established in Shiraz, and their main growth was in the last two decades. Pars, Tāj, Rex, Irān, Metro, Donyā, Shirāz Cinema-Theatre, Sa’di, Pāsārgād, Persepolis, Cāpri, Paramount and Ā riānā were some of these cinemas. It should be noted that some of these names have changed due to different factors such as change in ownership, renovation, or reestablishment for several times. The majority of cinemas in the aforementioned era were constructed by two or more commercial partners. In some cases this subject has caused disagreement and discrepancy between the mangers and theaters owners; even some of them owned several cinemas at the same time. Trading of the cinema establishment license was also prevalent. By changing the ownership of theaters, the names of them were changed as well. The procedure of changing the name was also often true in case where cinemas were reconstructed. It seems that this procedure was a trick to achieve a business boom. Most of the cinemas in Shiraz were constructed along the Zand Boulevard. This new place was considered a home to most important commercial institutions as well. After a while, three cinemas were established in Qasr-e Dasht Street (located in the west region of Shiraz) which was the outcome of social and economic development of the city in that region. Almost all cinema owners were among businessmen and this shows the economic hegemony of cinema industry in the Pahlavi era. Nevertheless, establishing new cinemas and growth in the quality of cinema projectors and the interior space gradually provided the essential infrastructures to hold international film festivals in Shiraz. Shiraz Arts Festival was a turning point in this regard which gathered various audiences in cinemas.
