Examining the Role of Political Discourse on Political Cinema in Iran after the victory of the Islamic Revolution

The present paper seeks to answer the question by the descriptive-analytical method and based on the common historical classification of the superscriptive political Islam, which consists of five subcategories of Islamic pragmatism, constructivism, democracy, justice, and moderate subjectivity, to answer the question of what the political cinema shows in each Is it possible to measure these periods? And what is the impact of Islamic political Islam on the process of political cinema in Iran? The present paper seeks to answer the question by the descriptive-analytical method and based on the common historical classification of the superscriptive political Islam, which consists of five subcategories of Islamic pragmatism, constructivism, democracy, justice, and moderate subjectivity, to answer the question of what the political cinema shows in each Is it possible to measure these periods? And what is the impact of Islamic political Islam on the process of political cinema in Iran? It seems that the official cultural policies of the country in the field of cinema during the past four decades, despite the relative ups and downs, have been shaped by the superstition of political Islam. In such a way that most decision-makers and cinema officials at any time adapted to the scores derived from this superfiction by actions such as artistic (such as the artistic revolution of the Islamic Revolution), institution-building (such as the cinematic organization), or the sponsorship of the production of films with the concepts of the Islamic Revolution (such as Sacred Defense films) follow the same general lines.