Oikopolitics within Iranian cinematography

Abstract

A paradoxical image of Iranian cinema history can be seen in Lalezar Street, an avenue full of cinemas that the Islamic Revolution turned into a street of burnt buildings. Now, there is a street with a different type of light. This light is spread from the electronic and lamp shops which are currently placed there.
To understand this image, I travel through the Iranian cinema history and its relation to the population subjectivity.