Strategic Studies of Culture

Strategic Studies of Culture

Geopolitics of Cinema and its Role in Enhancing Soft Power and Cultural Hegemony of Iran; Strategies and Policy Recommendations

Document Type : Original Article

Author
Navid Kamali
Ph.D. of Political Geography, Department of Political Geography, Faculty of Geography, University of Tehran, Tehran, Iran. Email: NavidKamali@ut.ac.ir
10.22083/scsj.2026.575382.1362
Abstract
Introduction:‌ In the contemporary world order, geopolitics defines “space” beyond its physical dimensions, incorporating psychological, cultural, and media elements. Within this paradigm, cinema functions as a powerful “technology of seeing” and a primary instrument of “identity projection,” playing a foundational role in shaping geographical imaginaries and representing national identities. The main structural problem addressed in this research is the profound gap between the geopolitical dimensions of space and the media policy doctrines embedded in the upstream policy documents of the Islamic Republic of Iran. Despite Iran’s critical geopolitical position in the energy heartland, its ancient civilizational heritage, and its profound geocultural influence in West Asia—which provide considerable potential for establishing cultural hegemony and enhancing soft power—national cinema lacks a strategic and purposeful position within the country’s policy documents. Consequently, the international image of Iran is frequently affected by what this study conceptualizes as “cinematic terrorism” orchestrated through Western media hegemony. Concurrently, Iran’s export-oriented and festival-oriented cinema, often seeking alignment with the Orientalist preferences of Western film festivals, tends to portray a marginal, passive, and crisis-centered image of the nation. This study aims to critically evaluate these structural and discursive shortcomings and propose strategic policy recommendations, informed by successful international experiences, to strengthen Iranian cinema as a driver of cultural influence and public diplomacy.
Methods: This research adopted a descriptive-analytical approach grounded in qualitative policy research methodology. To investigate the subject in depth, a qualitative research design combining documentary analysis and directed qualitative content analysis was employed. The units of analysis encompassed domestic cultural policy documents—specifically the 20-Year National Vision Document and the 7th Development Plan—as well as the thematic and discursive patterns of spatial and identity representation in internationally screened Iranian films. Furthermore, a comparative analysis was conducted of the cinematic policies and strategies of global powers, including the United States (Hollywood), South Korea (the Hallyu Wave), and China (the “Going Out” policy), to identify potentially adaptable models. Data were extracted through a systematic three-stage coding process: open, axial, and selective coding. The findings were organized around three main axes: the discursive axis of Iran’s image, the geocultural axis, and the structural-institutional axis. Finally, a gap analysis model was employed to map the substantial distance between the current state of cinematic policymaking in Iran and the desired state of cinema as an engine of cultural influence and geopolitical capacity.
Findings: The findings indicate that the gap between Iran’s cultural policy structure and international geopolitical requirements operates across three interconnected levels: discursive, structural-institutional, and economic-distributive. At the discursive level, Iran’s cultural policies remain predominantly protective and inward-looking, thereby limiting the geopolitical potential of cinema. The study therefore proposes an “Empowered Iran” discourse that emphasizes scientific progress, technological innovation, social resilience, and the cultural capacities of Shiite geoculture and Persian civilization. At the structural-institutional level, weak coordination between diplomatic and cinematic institutions necessitates the establishment of a Strategic Council for Cinematic Diplomacy and the expansion of international co-productions with allied countries. At the production and distribution level, the findings highlight Iran’s limited integration into global distribution networks and its dependence on domestic state funding. Proposed measures include a national-interest clause in professional contracts and the establishment of a Cinematic Export Fund to strengthen regional distribution and expand the international reach of Iranian cinema.
Conclusion: This study demonstrates that cinema is not merely an entertainment industry but also a critical arena for the reproduction of geopolitical power and the naturalization of dominant discourses. The Islamic Republic of Iran’s cultural influence in the region will remain fundamentally incomplete without the strategic deployment of “strategic cinema.” The primary obstacle is not a lack of artistic talent or technical infrastructure, but structural shortcomings in discursive meaning-making, institutional alignment, and the political economy of cultural exports. As long as the dominant cinematic portrayal of Iran remains confined to a society in crisis, and as long as there is no structural linkage between official diplomacy and cinematic output, cinema will fail to function effectively as a strategic instrument of soft power. Therefore, transitioning from an “industry-oriented” perspective to a “geopolitically oriented” paradigm is essential. A comprehensive “National Cinema Doctrine” should be integrated into the broader doctrine of national power, redefining cinema’s role in reproducing legitimacy, generating cultural attraction, and consolidating geocultural networks. By implementing the proposed policy packages, including targeted funding, geopolitical training for filmmakers, and measurable impact indicators, Iranian cinema can transform from a passive participant in the narrative struggle into a proactive agent capable of shaping a civilized, capable, and authoritative image of Iran on the global stage.
Keywords
Cinema geopolitics
Policy Research
cultural hegemony
Geo Culture
geographical imagination
cultural policy
public diplomacy
Subjects
اسدزاده، مصطفی و حسام‌الدین آشنا (1399). نظریه سینمای دولتی ایران (تحلیل سیاست‌گذاری سینمای پس از انقلاب با تأکید بر سیاست‌های بنیاد سینمایی فارابی)، مطالعات راهبردی سیاست‌گذاری عمومی، 10(34)، 252-271.
برزگر کشتلی، هادی؛ خسروی، ملک‌تاج و محبوبه پاک‌نیا (1404). دیپلماسی عمومی به‌مثابه رسانه و جایگاه آن در موفقیت برنامه‌های توسعه کشور (با تأکید بر تجربه دولت‌های هفتم تا دهم جمهوری اسلامی ایران)، علوم خبری، 14(2)، 142-162.                    https://doi.org/10.22034/lrsi.2024.477246
تابش، علیرضا؛ فرهنگی، علی‌اکبر؛ حسینی، سیدروح‌اله؛ و طهمورث شیری (1400). الگوی بین‌المللی‌شدن فیلم و سینمای ایران در جهت کسب سهم از بازارهای منطقه‌ای و بین‌المللی، نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی، 26(1)، 23-33.
تابش، علیرضا. (1398). نقش رسانه سینما به‌عنوان ابزار دیپلماسی در القای بین‌المللی محتوای هدف و فرهنگ ایرانی، فصلنامه علمی رسانه، 30(1)، 101-117.
جوهری، محمد و محمدحسین وکیل (1399). مسائل سیاستی سینمای ایران در دهه پنجم انقلاب اسلامی، اندیشه مدیریت راهبردی، 14(2)، 553-584.
حمزه‌لویی، شهرام؛ رشیدپور، علی و رضا ابراهیم‌زاده (1403). راهبردهای مؤثر بر ساختار زنجیره ارزش در وضعیت فعلی صنعت سینمای ایران، کنفرانس/همایش علمی منتشرشده در سیویلیکا.
 https://civilica.com/doc/2223044 
درویشی کوهی، مصطفی و سیدمهدی اعتمادی‌فرد (1403). سینمای ایران و نظم سیاسی اقتصادی (نقد ایدئولوژیک فیلم‌های 1340 تا 1357). مطالعات جامعه‌شناختی (نامه علوم اجتماعی سابق)، 31(1)، 211-226.
 https://doi.org/10.22059/jsr.2025.323445
سربندی، فرناز؛ صالحی امیری، سیدرضا؛ حاجیانی، ابراهیم و میثم موسائی (1403). بررسی تطبیقی سیاست‌گذاری اقتصاد سینمای ایران و ارائه راهکارهایی برای آینده، مطالعات فرهنگی و ارتباطات، 20(76)، 87-123. 
https://doi.org/10.22034/jcsc.2020.108913. 
شیخی، حبیب؛ سلطانی‌فر، محمد و افسانه مظفری (1401). مطالعه وضعیت موجود مؤلفه‌های دیپلماسی فرهنگی سینمای ایران و فاصله آن تا وضعیت مطلوب، ماهنامه جامعه‌شناسی سیاسی ایران، 5(10)، 1902-1919. 
https://doi.org/10.30510/psi.2022.251286
شیخی، حبیب؛ سلطانی‌فر، محمد؛ و افسانه مظفری (1398). شناسایی عوامل مؤثر بر دیپلماسی فرهنگی در سینمای ایران، مطالعات رسانه‌ای، (46)، 57-76.
فدائی، محمد و امید آقابابایی (1400). مطالعه سیاست‌های سینمایی در ایران با محوریت سینمای ملی (1358-1392)، سیاستگذاری عمومی، 7(4)، 189-210.
کمالی، نوید و احد پیرزاده (1403). اطلاعات فرهنگی در مأموریت‌های بین‌المللی: با تأکید بر افغانستان. تهران: دانشگاه فرماندهی و ستاد ارتش جمهوری اسلامی ایران، انتشارات دافوس.
کمالی، نوید و عباس محمدیان (1401). راهنمای دیپلماسی عمومی در مأموریت‌های برون‌مرزی: اصول اطلاع‌رسانی و برقراری ارتباط مؤثر با مخاطبان خارجی، تهران: وزارت فرهنگ و ارشاد اسلامی، معاونت مطبوعاتی و اطلاع‌رسانی، دفتر مطالعات و برنامه‌ریزی رسانه‌ها.
میرمحرابی، رضا؛ روشندل اربطانی، طاهر؛ فرهنگی، علی‌اکبر؛ و علیرضا ابطحی (1401). طراحی مدل سیاست‌گذاری در سینمای ایران با هدف ارتقای جایگاه بین‌المللی آن، مدیریت دولتی، 14(2)، 169-194. 
https://doi.org/10.22059/jipa.2022.341680.3141 
Hamzeh Louei, S., Rashidpour, A., & Ebrahimzadeh, R. (2024). Effective strategies for the value chain structure under the current conditions of Iran’s cinema industry. Civilica. https://civilica.com/doc/2223044. [In Persian]
Darvishi Kouhi, M., & Etemadi Fard, S. M. (2024). Iranian cinema and the political-economic order (An ideological critique of Iranian films, 1961-1978). Journal of Sociological Studies (Formerly Social Sciences Letter), 31(1), 211-226. https://doi.org/10.22059/jsr.2025.323445.1671 . [In Persian]
Sarabandi, F., Salehi Amiri, S. R., Hajiani, E., & Mousaei, M. (2024). A comparative study of policymaking in the economy of Iranian cinema and recommendations for the future. Cultural Studies and Communication, 20(76), 87-123. https://doi.org/10.22034/jcsc.2020.108913.1930 . [In Persian]
Mirmahrabi, R., Roshandel Arbatani, T., Farhangi, A. A., & Abtahi, A. (2022). Designing a policy model for Iranian cinema with the aim of enhancing its international position. Journal of Public Administration, 14(2), 169-194. https://doi.org/10.22059/jipa.2022.341680.3141 . [In Persian]
Asadzadeh, M., & Ashna, H. (2020). The Theory of Iranian State Cinema (Analysis of Post-Revolutionary Cinema Policy with Emphasis on Farabi Cinema Foundation Policies). Strategic Studies of Public Policy, 10(34), 252-271. [In Persian]
Barzegar Keshtli, H., Khosravi, M. T., & Paknia, M. (2025). Public Diplomacy as Media and Its Position in the Success of the Country’s Development Programs (With Emphasis on the Experience of the Seventh to Tenth Governments of the Islamic Republic of Iran). News Sciences, 14(2), 142-162. doi: 10.22034/lrsi.2024.477246.1242 [In Persian]
Bataoui, M. (2022). Cinema, Geopolitics, and Power Surveillance: Screening Middle East in Post-9/11 Hollywood Films. Arab Journal of International Law, Special Issue 2, 18-47. https://doi.org/10.5281/zenodo.7424679 .
De Souza, L. (2012). Global Chinese cinema: the culture and politics of Hero . International Journal of Cultural Policy, 18(3), 356-358. https://doi.org/10.1080/10286632.2012.658780 .
Ehteshami, A., & Miles, S. (2015). The modalities of Iranian soft power: From cultural diplomacy to soft war. Politics, 35(3-4), 364-377. https://doi.org/10.1111/1467-9256.12084.
Erhan, H. (2018). Cinema as a tool of influence in the portfolio of Iran’s public diplomacy. In Proceedings of 13th International Conference “Scientific Research and Education in the Air Force” (pp. 241-246). Brașov: “Henri Coandă” Air Force Academy.
Fadaei, M., & Aghababaei, E. (2021). Study of Cinema Policies in Iran with a Focus on National Cinema (1979-2013). Public Policy, 7(4), 189-210. [In Persian]
Ghofrani, T. (2024). Hollywood, a platform for shaping cultural coherence / divergence: A critical textual analysis of the representation of Iranians in contemporary Hollywood action films. International Communication Gazette.
Gramsci, A. (1971). Selections from the Prison Notebooks. New York: International Publishers.
Iordanova, D. (2013). Cinema at the periphery: Cinematic geopolitics and soft power. Edinburgh: Edinburgh University Press.
Johari, M., & Vakil, M. H. (2020). Policy Issues of Iranian Cinema in the Fifth Decade of the Islamic Revolution. Strategic Management Thought, 14(2), 553-584. [In Persian]
Kamali, N., & Mohammadian, A. (2022). Guide to Public Diplomacy in Overseas Missions: Principles of Information and Effective Communication with Foreign Audiences. Tehran: Ministry of Culture and Islamic Guidance, Press and Information Deputy, Office of Media Studies and Planning. [In Persian]
Kamali, N., & Pirzadeh, A. (2024). Cultural Intelligence in International Missions: With an Emphasis on Afghanistan. Tehran: Command and Staff University of the Islamic Republic of Iran Army (DAFOOS). [In Persian]
Kellner, D. (2010). Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era. John Wiley & Sons.
Kim, Y. (2022). The Soft Power of the Korean Wave: Parasite, BTS and Drama (pp. 31-44). Routledge.
Lamjahdi, A. (2022). Media and Politics: Which is Controlling Which?. Arab Journal of International Law, Special Issue 2, 2-17. https://doi.org/10.5281/zenodo.7424641
Loshitzky, Y. (2010). Screening Strangers: Migration and Diaspora in Contemporary European Cinema. Indiana University Press.
Naficy, H. (2012). A social history of Iranian cinema (Vols. 1-4). Durham, NC: Duke University Press.
Nye, J. S. (2004). Soft Power: The Means to Success in World Politics. New York: Public Affairs.
Ó Tuathail, G., & Dalby, S. (Eds.). (1998). Rethinking Geopolitics. Routledge.
Power, M., & Crampton, A. (Eds.). (2007). Cinema and Popular Geo-politics. Routledge.
Sheikhi, H., Soltanifar, M., & Mozaffari, A. (2022). A Study of the Current Status of Cultural Diplomacy Components of Iranian Cinema and Its Distance from the Desired Status. Political Sociology of Iran Monthly, 5(10), 1902-1919. [In Persian]
Sheikhi, H., Soltanifar, M., & Mozaffari, A. (2019). Identifying the factors affecting cultural diplomacy in Iranian cinema. Media Studies, 15(46), 57-76. [In Persian]
Tabesh, A. (2019). The Role of Cinema Media as a Diplomacy Tool in the International Induction of Target Content and Iranian Culture. Media Scientific Quarterly, 30(1), 101-117. [In Persian]
Tabesh, A., Farhangi, A. A., Hosseini, S. R., & Shiri, T. (2021). The Internationalization Model of Iranian Film and Cinema towards Gaining a Share of Regional and International Markets. Honar-Ha-Ye-Ziba: Performing Arts and Music, 26(1), 23-33. [In Persian]
Thussu, D. K. (2013). Communicating India’s soft power: Buddha to Bollywood. New York, NY: Palgrave Macmillan.
Wendt, A. (2012). Social Theory of International Politics. Cambridge University Press.
Yazdanjoo, M., & Ahmadgoli, K. (2022). The politics of cultural diplomacy: The case of Asghar Farhadi’s A Separation and The Salesman. Quarterly Review of Film and Video, 39(1), 1-18. https://doi.org/10.1080/10509208.2020.1855054
Strategic Studies of Culture
Volume 6, Issue 3 - Serial Number 23
Summer 2026
Pages 279-302