The Propaganda of Cinema: How Films Shape Belief Systems

Cinema as Soft Power

Joseph Nye defined soft power as the act of persuasion and attraction rather than force. Political leaders and philosophers have long recognised the power of appealing ideas to influence society. The ability to shape what other countries desire is often linked to intangible sources of power such as culture, ideology, and institutions. Cinema is one of the most influential cultural forces because it shapes how audiences think and feel, and, in doing so, frames national identities for better or worse. Cinema continues to exert influence because it captivates the hearts and minds of people. Films often shape emotional perspectives and, at times, even affect factual understanding, resonating more deeply than hard data or descriptive analysis. Soft power operates subtly through culture rather than through policies or analytical frameworks. This article examines how cinema constructs narratives and soundscapes that capture public attention, occasionally skewing perception and encouraging audiences to overlook underlying facts. In this sense, cinema possesses the capacity to elevate or distort cultures, often shaping perception more powerfully than empirical evidence.

Imagined Worlds and Cultural Pride: Black Panther

Black Panther was not merely another Marvel release but emerged as a significant cultural moment. The portrayal of Wakanda and its ruler T’Challa, played by Chadwick Boseman, resonated strongly with audiences and extended beyond the boundaries of cinema. Although fictional, Wakanda appeared politically and culturally credible, allowing viewers to engage with it as more than an imagined space. One of the film’s most notable contributions lies in its representation of Africa. Unlike traditional Hollywood depictions that frequently frame African nations as impoverished or unstable, Black Panther presents an image rooted in strength, technological advancement, and cultural pride. Through its costumes and soundtrack, the film generated appreciation and a sense of collective identity, foregrounding dignity and power rather than weakness. Audiences identified with Wakanda, illustrating how imagined worlds can influence real-world perceptions and emotional understanding.

Realism and Emotional Credibility: The Lunchbox

Closer to home, The Lunchbox demonstrates a quieter yet equally compelling form of cinematic influence. The film does not rely on spectacle; instead, its slow pace and minimalism are deliberate choices that create emotional credibility through ordinary moments rather than dramatic visuals or overpowering soundtracks. The film presents Mumbai as a lived-in city shaped by routine, local trains, and handwritten letters, rather than as an exoticized urban space. Its international recognition, including the Grand Rail d’Or at Cannes and a BAFTA nomination for Best Film Not in English, reflects its global resonance. Without any explicit intention to project soft power, The Lunchbox connects with audiences through universal themes of loneliness and missed opportunities. Where Black Panther constructs cultural pride through imagination and scale, The Lunchbox creates connection through realism and restraint. Despite their differences, both films demonstrate how cinema attracts audiences emotionally before encouraging political or cultural engagement.

Narrative Instability and Media Power: Talvar

Cinema’s influence also carries more troubling implications, as illustrated by Talvar. Based on a real criminal case, the film deliberately avoids offering a single, definitive truth. Instead, it presents multiple and conflicting narratives from the perspectives of the police, the family, and the media, ultimately leaving the audience without resolution. This absence of certainty places viewers in a position of discomfort, drawing attention to how belief is shaped by repetition, authority, and media framing. In a context where media trials increasingly shape public opinion, institutions often appear more concerned with controlling narratives than with pursuing justice. From an international relations perspective, Talvar highlights how legitimacy is constructed through storytelling and how power frequently resides with those who frame events first and most convincingly.

Dominant Narratives and Mythmaking: The Social Network

The Social Network provides a contrasting illustration of narrative power. For many viewers, the film served as their primary introduction to the origins of Facebook and the disputes surrounding its creation. By blending fact with dramatization, the film establishes a version of events that becomes fixed in public imagination. Its portrayal of Mark Zuckerberg as a dominant technological figure reinforces broader narratives surrounding capitalism and corporate power. Through repetition and popular consumption, this cinematic account often gains greater credibility than journalistic or legal records. While Talvar exposes narrative instability, The Social Network demonstrates narrative dominance. Together, the films reveal how cinema can either unsettle belief or entrench it, shaping how audiences understand power and legitimacy.

Conclusion: Cinema and the Construction of Belief

Returning to the central argument, cinema frequently acts as the first point of contact between audiences and complex political, institutional, or social realities. People often encounter narratives through film before engaging with political literature or documented analysis. As a result, emotional judgements formed through cinema tend to resonate more strongly and circulate more widely than verified information. Cinema does not replace political scholarship; rather, it often precedes it, framing how audiences later interpret facts and form opinions. In this sense, cinema does not merely reflect the world but actively participates in constructing understandings of power, truth, and legitimacy. In an era increasingly shaped by screens, the ability to critically engage with cinematic narratives becomes essential to understanding how perceptions are formed and sustained.

About the Author

Harman Kaur Minhas is a second-year undergraduate student of Global Affairs at the Jindal School of International Affairs. Her interests include international politics and law, political theory, culture and power, and the relationship between media, cinema, and global politics. She is especially interested in understanding how culture, narratives, and representation shape political ideas and global conversations.

An introvert by nature, Harman enjoys reading and watching films, and often turns to books and cinema as ways to better understand politics, society, and contemporary global issues