Representation Of Afghan Immigrants in Iranian Cinema

Abstract

This study aims to examine the representations of Afghan migrants in Iranian cinema, revealing how cinematic narratives relate to the social, cultural, and economic experiences of migrants. The massive Afghan migration to Iran following the 1979 Soviet invasion created a lasting social structure in the country; this led to the prominence of themes such as identity, belonging, exclusion, and invisible labor in Iranian cinema. Within the scope of the research, the films The Cyclist (1987, Mohsen Makhmalbaf), Djomeh (2000, Hassan Yektapanah), and Baran (2001, Majid Majidi), which offer strong examples of Afghan migrant representation, were selected using purposive sampling. A qualitative research approach was adopted; the films were evaluated within the framework of critical discourse analysis in terms of narrative structure, character development, and thematic dimensions. The analyses show that Afghan migrants are mostly represented in Iranian cinema in precarious working conditions, socially marginalized, and in the position of "the other." The Cyclist conveys the economic exploitation and struggle for survival of migrants through a powerful metaphor; Djomeh makes cultural incompatibility and the search for acceptance visible through everyday life practices. The film Baran, on the other hand, offers a more humane and empathetic narrative by relating the experience of migration to themes of identity, love, and sacrifice. However, the fact that Afghan characters in the films are mostly portrayed as passive figures shows that the areas of collective subjectivation and resistance remain limited. This study reveals that Iranian cinema has the potential to increase the visibility of Afghan migrants and create social awareness, while also showing that the forms of representation are still shaped within certain patterns and boundaries. Contributing to the literature on the relationship between migration and cinema, the research draws attention to the importance of addressing migrant representations in a more multi-dimensional and inclusive way.

Bu çalışma, İran sinemasında Afgan göçmenlerin nasıl temsil edildiğini incelemeyi amaçlamaktadır. Araştırma, sinema anlatılarının göçmenlerin sosyal, kültürel ve ekonomik deneyimleriyle nasıl ilişkilendirildiğini ortaya koymaktadır. 1979’daki Sovyet işgali sonrasında Afganistan’dan İran’a gerçekleşen yoğun göç, İran toplumunda kalıcı bir sosyal yapı oluşturmuş ve bu durum İran sinemasında kimlik, aidiyet, dışlanma ve görünmez emek gibi temaların öne çıkmasına neden olmuştur.

Araştırma kapsamında The Cyclist (1987), Djomeh (2000) ve Baran (2001) filmleri nitel yöntem ve eleştirel söylem analizi çerçevesinde incelenmiştir. Analizler, Afgan göçmenlerin çoğunlukla zor çalışma koşullarında bulunan, toplumsal olarak dışlanan ve “öteki” konumunda temsil edildiğini göstermektedir. Bununla birlikte İran sinemasının Afgan göçmenlerin görünürlüğünü artırma ve toplumsal farkındalık oluşturma potansiyeline sahip olduğu, ancak temsillerin hâlâ belirli kalıplar içinde şekillendiği sonucuna ulaşılmıştır.