Document Type : Research Article
Assistant Professor, Faculty of Visual Arts, University Arts of Isfahan, Isfahan, Iran
Associate professor, Department of Social Sciences ,University of Isfahan, Isfahan, Iran
The purpose of this article is to study the cinema policies after the Islamic Revolution with a focus on national cinema. The main question is to what extent cinema policies in Iran are based on the idea & principle of growth & development of national cinema & have been in line with it? For this purpose, according to Susan Hayward's theory, seven indicators of national cinema are adopted & will be analyzed the cinema policies that are announced & implemented through the policy booklets in each period by the deputy director of cinema. Findings show that these policies are more focused on codes & conventions, narrative & genre, respectively. The lowest indicators were the star as signs, gestural & morphology, & cinema of the center & cinema of the periphery. These findings show that the header of cinematic policies has paid less attention to the characteristics of the national cinema after the Islamic Revolution. Adopted policies are centralist policies & generally "monitoring, directing & advocacy policies", & does not allow much room for audience-centered policies as well as differentiation policies such as marginal cinema.