Movietowns have always played a decisive role within every powerful film - making establishment.
Ever since the early years of the twentieth century when the first movietown began to take shapely the influential are has expanded, slowly but unceasingly, across the cultural, art, and economic structures of every country in the world.
An important landmark was the Italian Cinecita, commissioned by Mussolini in the 1930s with the aim of strengthening the commercial and propagandist potentials of this most effective art-cum-industrial medium.
Movietowns of various sizes and descriptions have since sprung up whenever there has been a film boom in their respective homelands, these have gradually assumed a commanding role in centralizing film activity and production, in preventing capital from being drained or excessive time spent, in enhancing the quality and quantity of works produced, in creating essential and sustainable infrastructures to acquisition of knowledge and experience by those involved in film-making, and last but not least, increasing welfare, entertainment, and tourist attractions.
This can be explained in term of the effect of concentrating all the means available to innumerable centers where films are produced and technical, commercial, service, and welfare support provided, in one single spot, the outcome of such integration would be not only to eliminate functional location, and physical dissipation and inefficiency, but also to supply appropriate frameworks within which all concerned may benefit from optimized and shared services, thus reducing to a considerable extent the futile movements back and forth the endless searches, and the expenditure of wasted money, time, and energy.
In other words, centralization lends consistency to the production process, and ensures the emergence of a piece of artwork that both¬ represents the culture and identity of a nation and is undeniably bound up with the economic well-being of that nation.
Also, centralization promotes continuous competition among film producers Lying for services available through a single organization there by enhancing the quality and quantity of films and ultimately resulting in a formalized/regulated, and coherent film industry. Now, as Iranian cinema enters its 70th year, a dignified age for a film industry that has developed both quantitatively and qualitatively, and which has undergone many fruitful attempts at improvements over the recent decade, there is a need for more and cheaper production of high-quality films.