A historical analysis regarding the evolution of the concept of history ending in the twenty first century cinema

This article studies the religious concept of ending of history in American cinema during decades of 2000 to 2011 by paying attention to the text itself not the film. From the end of decade of 1970, the war-elitism genre films were made in order to prove an actual element named as the cultural superiority of the Western societies and then gradually, they were made in order to prove the endlessness of the history and were made to prove the history ending in its religious sense. If we really demonstrate how much this perception is sensual or reasonable, the identification of the narration of such films which are usually made by themes against Iran is being studied.Theoretically, I make use of a multidisciplinary approach for the communication and the cultural studies. The concept of the ending of history has been reflected within the context of symbolic acts in dialogues of the films to represent the communicative phenomenon and considering the cultural studies, it can be shown that the hierarchy of power has influenced on the concept redevelopment.Methodologically, in addition to having interviews with two experts of Iranian Films, I make use of the debate analysis and the historical study of tradition in order to identify representation of the ending of history concept at the texts of such cinematic films.The possible results are laid over this principle that the power relations by themselves cannot be assessed or defined by the ancient relations of the political economy and instead, they are of software and intangible types and they are more found in the movie dialogues and the cultural commodities. Such films also direct the human being not only with having fear from the supernatural powers or the strenuous forces, but with a hope that the history will move toward a social balance and adherence to the norms of global empire.