CINEMA is often regarded as a medium of entertainment, a form of escape or even an art form, but beneath these surface functions, it operates as a potent diplomatic tool. The global reach of Hollywood, Bollywood, and emerging film industries in countries like South Korea, China, and the Middle East illustrates how film not only entertains but also shapes public opinion, reinforces cultural values and projects political ideologies across borders. The concept of 鈥榮oft power鈥欌�攚here influence is exerted through cultural or ideological means rather than military force 鈥� finds one of its most effective vehicles in film. By blending compelling narratives with subtle messaging, films have the power to influence global perceptions in ways that go beyond traditional diplomacy.
Hollywood, the most pervasive and influential film industry in the world, plays an unparalleled role in shaping global opinions about the United States. Through action-packed blockbusters, romantic dramas, and epic historical films, it has long projected an idealised version of the 鈥楢merican Dream鈥� 鈥� where individualism, freedom and success are paramount. Films like Top Gun or Captain America celebrate the military and the government鈥檚 role as protectors of this dream, subtly reinforcing pro-American narratives. These films cast America as the global hero, the defender of freedom and democracy, and the cultural 鈥榮aviour鈥� in a chaotic world.
Films that showcase the American Dream, such as The Pursuit of Happyness or The Wolf of Wall Street, tap into deep psychological desires for success, creating an aspirational image of the US as the land of opportunity. These narratives resonate with global audiences, particularly in countries where economic mobility is a distant dream, making the American way of life appear not only attainable but enviable.
The collaboration between Hollywood and the military-industrial complex goes beyond entertainment; it crafts narratives that support US geopolitical agendas. Films like Zero Dark Thirty (2012) rely on government resources in exchange for favourable illustrations, influencing both storytelling and audience perception. Consequently, Hollywood acts as a powerful platform for disseminating ideological messages, shaping attitudes towards US military interventions and reinforcing American dominance.
In a media landscape rich with curated content, the narratives presented by Hollywood significantly impact global understanding of US foreign policy, reflecting broader issues of national identity, ethics and the role of America in international relations.
Bollywood, India鈥檚 prolific film industry, plays a similarly significant role in protecting the country鈥檚 soft power. In recent years, films like Raees, Chennai Express, My Name Is Khan, and Lagaan have not only dominated the domestic box office but also captivated global audiences, particularly in South Asia, the Middle East, and parts of Africa. These films go beyond entertainment, offering a vision of India as a country rich in tradition yet modern and capable of tackling global issues like religion, nationalism and cross-border diplomacy.
A standout example is Dangal, which handles the Indian Dream through the lens of sports while addressing significant gender issues. The film tells the inspiring story of a former wrestler who trains his daughters to become world-class wrestlers, challenging traditional gender roles and advocating for women鈥檚 empowerment. By showcasing the struggles and triumphs of its female protagonists, Dangal speaks to universal themes of perseverance, family values and social change. Its success in global markets, particularly in China, demonstrates how cinema can transcend cultural boundaries and spark conversations around gender equality and empowerment. As Dangal continues to inspire audiences worldwide, it serves as a reminder of the potential for cinema to challenge societal norms and foster dialogue.
In more recent years, Bollywood has ventured into soft power diplomacy by addressing themes of Indian nationalism and foreign policy. The film Uri: The Surgical Strike (2019) directly ties into India鈥檚 military actions against Pakistan, portraying the Indian army in a heroic light. Its release coincided with rising nationalistic fervour, reinforcing India鈥檚 image as a dominant force in the region. This film blurs the lines between entertainment and political messaging, showcasing how Bollywood serves as a conduit for soft power, effectively shaping global perceptions of Indian identity and authority.
South Korea鈥檚 film industry has seen a meteoric rise on the global stage, particularly with the success of films like Parasite and shows like Squid Game. These works go beyond mere entertainment, sparking global discussions on issues like class disparity, capitalism and social injustice. At the same time, they serve as a diplomatic tool, reshaping perceptions of South Korea as a cultural powerhouse capable of producing globally relevant content.
Parasite, for example, captured the world鈥檚 attention by critiquing economic inequality 鈥� a universal issue. Its success at the Academy Awards in 2020 positioned South Korea as a significant player in the global film industry while also subtly influencing perceptions of South Korean society. These films serve as a form of cultural diplomacy, showing that South Korea is not only technologically advanced and economically prosperous but also culturally vibrant and socially aware.
In the Middle East, cinema has emerged as a vital form of resistance and cultural expression, particularly in countries like Iran and in narratives surrounding Palestine. Iranian filmmakers, such as Abbas Kiarostami and Asghar Farhadi, have gained international acclaim for their nuanced storytelling that often critiques social issues and political realities. For instance, A Separation (2011) won the Academy Award for Best Foreign Language Film and illuminated the complexities of Iranian society, showcasing the struggle for justice and personal freedom amidst societal constraints.
Films from Palestine, like Omar and The Idol, reflect the struggles of the Palestinian people and challenge dominant narratives about their identity. Omar explores themes of love, betrayal, and the impact of occupation, providing a humanising portrayal of Palestinians that resonates with global audiences. These films are not merely artistic endeavours; they serve as potent statements of identity, resistance and cultural heritage, helping to shape perceptions of Palestine and its plight on the world stage.
Moreover, Middle Eastern cinema often grapples with themes of identity and belonging, reflecting the complexities of living in a region marked by conflict. This rich tapestry of narratives serves to humanise the peoples of the Middle East, countering stereotypical portrayals often seen in Western media. Through these films, the filmmakers advocate for cultural understanding and empathy, acting as cultural diplomats in a world rife with misunderstanding and prejudice.
While the role of cinema as a tool of soft power is undeniable, it raises important questions about the balance between artistic integrity and political messaging. Filmmakers often have to navigate the fine line between creating meaningful art and serving as instruments of national diplomacy. In countries like China and Iran, where government censorship plays a significant role, filmmakers must constantly weigh their creative visions against the political realities of their environment. Even in the US, Hollywood鈥檚 relationship with the Department of Defence, which offers financial and logistical support to certain films, influences how stories are told, often leading to the glorification of military power.
Ultimately, the power of film lies in its ability to shape perceptions, influence opinions and create empathy. Whether through Hollywood鈥檚 portrayal of the American Dream, Bollywood鈥檚 celebration of Indian culture, South Korea鈥檚 critique of capitalism, or the poignant narratives of Iranian and Palestinian filmmakers, cinema functions as a silent diplomat, shaping the way we see the world.
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Arif Murshed is a Toronto-based听independent filmmaker.