The aim of this study was to discourse analyze of political cinema in Iran after the war from 1989 to 2013. For the purpose of this research is descriptive analysis was conducted to collect information on library. Population in three period after the Islamic Revolution “from 1989 to 1996, 1997 to 2005 and from 2006 to 2013” was studied. Discourse analysis of political cinema after the war, within the period specified, underlying the approach of Fairclough and integrate it with roses, Aydma and Kress and Van Leeuwen who are affected by social semiotics, operational model for critical discourse analysis of the film. And with respect to the proposed model Paul Gay, the elements of the six organs, which he identifies as text fragments, examined chosen films. 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 “rationalitAy” in the Rafsanjani government conceptualized. 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, reformer discourse changed. Government film policy, in particular, before and after 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 (2005), to open in 1981 in the form of a new meaning system helped the fundamentalist interpretation. Therefore it can be concluded that the selected films examined in this study have political implications affecting the society of his time.
Keywords: Fairclough and Paul Gay approach, Linguistics, War, critical discourse analysis, political cinema
