In the last days of the month of Khordad this year, Fars News Agency reported that “the Supreme Council of the Cultural Revolution discussed policies and regulations for the comprehensive audiovisual field in its 30th session, chaired by Seyyed Ebrahim Raisi” and approved the single article “Determination of Requirements for Organizing the Comprehensive Audiovisual Field”.

According to this article, the scope of authority and responsibilities of the Ministry of Culture and Islamic Guidance and the Islamic Republic of Iran Broadcasting Organization in this area has been specified and designated for private sector actors, especially in widespread audio and video platforms and designated home viewing networks, to obtain licenses from the Ministry of Culture and Islamic Guidance in certain areas and from the Islamic Republic of Iran Broadcasting Organization in other areas.

Another clause of these requirements, which specifies the principles and policies of widespread audio and video production and distribution and home display network in a more precise manner, has been approved.

In this session, it was decided that “regulations for organizing the field of audio and video production and distribution, as well as home display networks, should be prepared and sent to the Islamic Consultative Assembly for approval as a law by the relevant authorities, taking into account the policies and principles determined by the Supreme Council of the Cultural Revolution.”

This report indicates that the sphere of influence and discretion of the managers of the national broadcasting organization will have a wider impact on the content and, of course, the quality of the outputs that will be produced with the (mostly) private sector funding, than in the past.

In these circumstances, this organization, by connecting to government resources, seeks to monopolize as much as possible in the field of television production, in order to attract viewers to watch its expensive and new productions, it has resorted to city advertising through billboards of Tehran Municipality. The managers and policymakers of this organization have also repeated the form and sometimes the content of their new productions in the hope of repeating popular programs (such as the top football program – 90/ Seyed Khandan program – Khandevaneh).

The organization that once attracted millions of viewers by producing shows such as “Shabhaye Barareh” by Mehran Modiri, “Motehem Gharicht” and “Khaneh Be Doosh” by Reza Attaran, and “Peytakht” by Sirous Moghaddam, now believes that its failure in attracting audiences is due to platforms that have produced attractive and non-restrictive shows on television, and have managed to satisfy both viewers and producers who were previously dissatisfied with the strict regulations of the organization.

In these circumstances, the renewed supervision of the Iranian Broadcasting Organization over productions outside of this organization has raised the question for viewers: what impact will this supervision have on the output of the home entertainment network, and whether the independent cinema and visual field will be willing to continue collaborating with platforms such as Filimo, Namava, and Filmnet in these conditions.

To answer the first part of this question, we must wait and see if the impact of the failed thoughts of the Voice and Vision Organization will also affect the fate of the organization’s outputs on the home network or not.

But in response to the question of continuing collaboration with independent cinema platforms, a more important question arises; have the current productions emerged from the body of independent Iranian cinema that has been able to attract such audiences?

The answer to this question is positive based on the writer’s experience and the opinion of one of the domestic platform managers.

“Exploring the archives of these networks reveals that the most prominent element of Iranian independent cinema – namely short films – have found a means of connecting with audiences through these platforms. Unlike the state-run television, the local home viewing network serves as a venue for showcasing these productions (for example, Mehdi Mahaei’s award-winning short film “Tajbazi” from last year’s international film festivals is available on the Filimo platform). On the other hand, is it not the case that the elements of independent cinema (such as makeup, cinematography, writers, and even directors) have found a way to be present in the film industry through the home viewing network?”

It must be accepted that commercial activity in the field of visual productions in Iran is subject to the current regulations of the country, and even artists, including independent artists, are striving to gain financial benefit from their presence in this field due to poor economic conditions.

Every production and producer is looking for an audience for their work; now, with the approval of the supervision of the Iranian Broadcasting Organization on the content published on the home display network, it can be said that artists are concerned about the restrictions on their work, production, and even their limited visibility in this field.

At the end, it is recommended that the decision-makers take a look at the reactions and opinions of the people; undoubtedly, the current managers of the radio and television have passed the test as stakeholders in this matter, but they have been and will be incompetent and in a precarious position.