An Anthropological Look at the Representation of Iran in Historical World Cinema (Case Study: The Assassins Series

In the month of Ramadan 2024, a series called "Assassins" was broadcast on Egyptian television, which also found a large audience in other Arab countries. Since a large part of the events of the series represented Iran and were related to Hassan Sabah, the Ismailis, and the Alamut Castle, it was also welcomed by Iranian viewers. However, given that it distorted history and presented a negative image of Hassan Sabah and other Iranians, it also provoked negative reactions in Iran. Therefore, in this study, we aim to examine the reasons for the negative image of Iranians in this series.

To do this, we examined 30 episodes of this series. By analyzing the qualitative content of the scenes and conversations of the series "Assassins", we sought to show what was the atmosphere and background of the expressions used or the images and scenes shown. Therefore, the sequences and scenes from the series "Assassins" that could better demonstrate the claims of this research were selected purposefully and not randomly. Also, part of the method of conducting this research was documentary and library. In fact, first, an attempt was made to examine and measure the accuracy and symbolism of many of the scenes represented in this series by referring to historical sources.

The findings show that many of the events and symbols shown in this series do not correspond to historical facts, and negatively represent Iran today. To answer why this is the case, four factors and background were introduced: 1- Although Iran was a Muslim country from the beginning of the Islamic era, it always defined its identity outside the caliphate and the Islamic Ummah. 2- The nationalism that has emerged in the Arab countries in the contemporary era is generally in conflict with the identity and territorial integrity of Iran (for example, in the debate over the name of the Persian Gulf or the Three Islands). 3- Geographically, Iran is strategically isolated and therefore does not have strong friends and allies among its neighbors, especially Sunni Arab countries. 4- The roots of contemporary Egyptian and Arab nationalism must be seen in their past (in accordance with the theory of ethno-symbolism).

Therefore, the fact that Islamic Iran was outside the caliphate and the Islamic Ummah in the past still influences Arab nationalism today, in order to make Iran its “other” and to represent a negative face of our country in cultural productions such as historical cinema. If Iranian cinema, which has shown, based on its experiences, that it has sufficient capacity to produce excellent works in the historical field, pays more attention to Iranian history (both before and after Islam) and produces works in this field, there will not be a vacuum that other countries will want to fill. And if other countries produce works against our country in this field, our cinematic works can respond to them by reducing their negative impact and representing a suitable image of our country throughout history.