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Kamali Dolat Abadi R. (2026). Visual Counteraction to the Qavam-Sadchikov Oil Agreement in the Illustrations of Mard-e Emruz Weekly (1946–1947) Based on Nicholas Mirzoeff’s Theory of Visuality. PH.
URL: http://ph.aui.ac.ir/article-1-1520-en.html
URL: http://ph.aui.ac.ir/article-1-1520-en.html
Visual Communication Department , rasokam@gmail.com
Abstract: (5 Views)
The socio-political illustrations of the “Mard-e Emruz” weekly in the 1940s were engaged in a fearless visual counteraction against domestic despotism and foreign colonialism. In the middle of this decade, Iranian oil concessions to both blocs (particularly the Qavam–Sadchikov Agreement) became a central theme in these visualizations; The agreement, signed in Moscow to encourage Soviet withdrawal from northern Iran and the cessation of support for the Azerbaijan Democratic Party, outlined the establishment of a joint Iranian-Soviet oil company. Soviet insistence on its implementation led Prime Minister Ahmad Qavam to submit the “Northern Oil Concession Bill” Iran’s Fifteenth National Consultative Assembly. This study applies Nicholas Mirzoeff’s theory of visuality (including the Spaces of representation and the three complexes of slavery, imperialism, and the military–industrial) to provide a critical reading of Mard-e Emruz’s illustrations regarding the northern oil concession. The present article, with the aim of examining Mard-e Emruz’s visual Contestation in Preventing the Iranian Government’s Oil Agreement with the Soviet :union:, seeks to answer the following question: Within Mirzoeff’s framework of visuality, how did Mard-e Emruz’s illustrations (1946–1947) enact visual resistance against the Qavam–Sadchikov oil agreement? The research method is qualitative in type, developmental in purpose, and descriptive–analytical in nature, and focuses on twelve selected illustrations. According to the results, the case studies, through three interwoven layers, including ironic-satirical counter-narratives (often based on satire, irony, dark humor, sarcasm, and ridicule), visual metaphors (particularly objectification, feminization, and animalization), and diverse visual techniques (such as exaggeration of characters, actions, and situations, alteration of political roles or positions, scene engineering, and reconstruction of the gaze), exposed the national-territorial threat and the incompetence of the ruling elite (including Qavam and the Democratic Party faction in the Fifteenth Parliament) in relation to Soviet colonial relations.
Keywords: Qavam-Sadchikov Oil Agreement, Visual Counteraction, Illustration, Mard-e Emruz Weekly, Visuality, Nicholas Mirzoeff.
Type of Study: Research |
Subject:
هنرهاي تجسمي
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