Cinema, as the seventh art, which has gained more weight these days due to its industrial nature, uses various methods to cover its expenses. An important part of it is still in the classic way, i.e. money flowing from the audience's pockets to the box office, and it has a certain mechanism all over the world. After that, it comes back to the favorable opinion of the sponsors, which is a win-win deal for both parties. Because on the one hand, the seventh art has potentially millions of audience and is considered a wonderful showcase for their products. A subtle form of advertising that should have a subliminal image and the viewer should not feel it is gross and exaggerated. On the other hand, movie producers amortize part of their costs with this method and increase their risk-taking power.

With the mass production of home videos from Betamax and Umatic to VHS, a new way was opened for moviegoers to be able to تماشا their favorite works at home on a small TV screen. In this way, video clubs were launched and the films were duplicated, distributed and rented on raw tapes after the end of the screening. (Quentin Tarantino) is one of those movie theaters who, to be in this space, started his career by working in movie rental clubs and even wrote his first feature film script that was made in the beginning of the nineties in this space!

In post-revolutionary cinema, despite the open and hidden support of government institutions for the seventh art, the eyes of the private sector producers were still on the box office, and therefore there was a balance between income and expenditure. At the same time, there was a variety of genres and the producers paid a lot of attention to this subtle but key point. That's why when we flip through the list of the most watched movies of the sixties, we come across this pleasant variety. From melodramas such as: Dawoodi flowers by Rasool Sadr Aamili and Let me live by Shapour Garib to attractive actions centered on imposed war such as: Eagles by Samuel Khachikian and Kani Manga directed by Saifullah Dad. In these days, children's and teenagers' cinema has been extremely prosperous and with films such as "Shahr Moushha" directed by Marzieh Broumand, "Golnar" directed by Kambozia Pertovi and "The Doll Thief" directed by Mohammad Reza, the artist broke records.

After the box office, the hope of Iranian cinema was the rights from the sale of the rights of the films to television, airlines and the railway fleet, which were considered for the producers of the bottom line of financial accounts and books and possibly filling the financial losses caused by the failure of their works. In the seventies, with the establishment of the Video Media Institute, a new source of income was created for the weak foundation of Iran's cinema economy, and this institute burned works at a very normal price, according to the quality classification of the deputy director of cinema at the time, and also sold them in Screening, determining and paying. This process continued until the early 80s, until Iranian cinema faced a terrible phenomenon called smuggling. From low-quality video shooting on the screen in the style and style of today's smuggled films to high-quality leaked versions from other places, all of them reached one point, and that was the sharp drop in audience and the free fall of Iranian cinema towards bankruptcy. .

With the increase in internet penetration in Iran at the end of the eighties, the attention of Iranian cinema producers was also drawn to this direction, but they still faced a completely unknown market. Because نتفلیکس had not yet launched its first series titled (House of Disguise) online and had not conquered the international markets. This happened a few years later and with the birth of the first platform, and made the cinematographers of our country aware of a pristine and untouched market that can return a guaranteed part of a film's capital. At the same time, the production of the series has been removed from the monopoly of television and a market of several million audiences has been opened to them. Finally, in 2014, at the time when our country's internet had found a better and stronger infrastructure and its penetration rate in the country was also very high, the first domestic platform started its work and based on the trial and error method, it reviewed the problems and Fixed the existing holes.

In recent years, especially after the spread of Corona virus in Iran, the platforms from Filimo and Namava to Filmnet have grown significantly and attracted millions of viewers due to the complete or partial closure of movie theaters. Production of the series, which was their most important winning card in the competition with television and cinema, became more important and soon opened its place among Iranian families. So much so that many of them sat down at the receivers and watched the latest episode of their favorite series every week in the very first hours of the series release. One of the platforms that has recently stepped into this field and with a short search in its rich archive, you can find an important part of Iranian cinema productions in the past years, is called (Tamasakhane), which offers various products for free. pays for itself From the memorable films of the sixties and seventies to the eighties and nineties, and series that each have attractions for different audiences. In addition to these, Tamashakhone has not neglected the production of exclusive series, among the examples of which are currently being aired, we can see Amsterdam by Masoud Karagozlou, and the series titled Guardiola's Father, directed by Saeed Nematullah, in the comedy genre, and Haft, by Kiarash. Asadizadeh mentioned in the genre of melodrama that the serialization market has become hotter than before and has created a fierce competition between the audience and other platforms.