The role of political, social and cultural structures in the trend of documentary photography in Iran during the period of Eslahat. (emphasizing the views of two sociologists of art, George Lukacs and Arnold Hauser).

Little research has been done about the impact of the political, social and cultural structures of the Eslahat period on the process of documentary photography, this is important because documentary photography with social documentary and News approaches in recording social events of this period. This article, while studying how the documentary photography trend is in this period, the role of the ruling power policies on the documentary photography trend is examined by using some of Lukacs and Hauser's views. In this qualitative research, the research method is descriptive-analytical and information collection is through review of printed written and electronic literature.Studies show that documentary photography was influenced by the policies and ideology of the ruling power during the Eslahat period, and despite the political and social open space, photographers could not reflect the spirit of their time in all its dimensions. Factors such as publication of press, appearance of news agencies, organizing competitions, photography annals, exhibitions, and the publication of photography books contributed to the development of documentary photography during the Eslahat Period and factors such as the prohibition of photography and censorship were an obstacle to its progress. Photographs that were in line with the ideology of the ruling political power or were one of its idealisms were supported. It can be said that according to the arguments presented, how the documentary photography trend in the Eslahat period has relatively in line with the views expressed by Lukacs and Hauser.