ABSTRACT Captivating film posters and advertisements with images of idolized actors like Mammootty and Mohanlal blended in with vivid colours and appealing captions is a spectacle that is a part of the cultural identity of Kerala. The massive six-sheet posters that command attention, the smaller 30 × 40 posters that line the walls of the streets and the enticing advertisements that catches one’s eye in a magazine, are all ways in which cinema is weaved into the Malayalee milieu. Publicity materials epitomize aspects of the film that it is promoting. In time it signifies not only the personal, social and cultural memories of the viewer and the augmentation of a film industry, but also the process it goes through to become the cultural product that people see. This article analyses newspaper and magazine advertisements designed by publicity designers working in the Malayalam film industry during the 1970 s and 1980 s. It argues that the publicity industry shifted from Madras (now Chennai) to Ernakulam during the 1980 s while the larger Malayalam film industry was still centred in Madras, and tries to understand the grounds for this spatial shift and evaluate its co-relation with the production of publicity materials, and the rise of an independent film publicity industry in Kerala.

中文翻译：

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回顾：1980年代喀拉拉邦电影宣传业的空间转移

摘要吸引人的电影海报和广告以及像Mammootty和Mohanlal这样的偶像演员的图像与生动的色彩和吸引人的字幕融合在一起，是喀拉拉邦文化身份的一部分。巨大的六页海报吸引了人们的注意，较小的30×40海报横排在街道的墙壁上，并在杂志上引起了人们的注意，这些都是将电影编织到Malayalee环境中的所有方式。宣传材料概括了正在宣传的电影的各个方面。随着时间的流逝，它不仅标志着观众的个人，社会和文化记忆以及电影业的发展，而且还标志着它成为人们所看到的文化产品所经历的过程。本文分析了1970年代和1980年代在马拉雅拉姆语电影业工作的宣传设计师设计的报纸和杂志广告。它认为，在1980年代，宣传业从马德拉斯（现在的金奈）转移到了Ernakulam，而更大的马拉雅拉姆语电影业仍然集中在马德拉斯，并试图了解这种空间转移的根源，并评估其与电影制作的相互关系。宣传材料，以及喀拉拉邦独立电影宣传业的兴起。