Resumen
The aim of this study was to analyze the discourse of political cinema of Iran after the war with the approach of Fairclough's approach. For the purpose of this research is descriptive-analysis was conducted to collect information on library. The research community in the aftermath of the Islamic Revolution "from 1989 to 1996, the film Refugee, 1997 to 2005, organ on color film and from 2006 to 2013, movies influence" was studied. According to the findings in the first period, "1989 to 1996", pure thoughts patriotic and revolutionary themes have been witnessing a fundamental transformation. Which include two periods, first, the concept of "development" that accompanied the pattern of "rationality" are the Rafsanjani government concept. The discourse of war, the rise of the urban upper classes and groups based on the concept of "construction", ie development projects, all of which are examples. But in the second part of the first period, the discourse of "democracy" and "freedom" are met. In the second decade 1997 to 2005, traditional political discourse, the discourse changed reformer. Government film policy, in particular, before and after of June, under the sovereignty of political discourse "conservative" and "reformist" has been developed. The third period, from 2006 to 2013 with the victory of Ahmadinejad, to open in 1981 on a new meaning system helped the fundamentalist interpretation. Therefore it can be concluded that the selected films examined in this study have implications affecting the society of his time were political. Iranian cinema films are not political in the true sense, of course, movies that have claims in this direction but none of them can define the configuration of political theater. In other words, if we look at the political cinema as a genre have to say that this genre, like many other genres by ideas and Alqa?hay Hollywood and West and Western theories (as other items to be imposed Cinema) this genre has been imposed on our minds.