A few days ago, I had an interesting chat with a lawyer who specializes in literary and Artistic property rights. She firmly believed that copyright isn’t political and shouldn’t be treated as such. In her view copyright is simply part of private property law and is totally separate from things like censorship or public policy. That perspective struck me as deeply flawed. It actually inspired me to make a video digging into why copyright in Iran is, in practice, highly political. In fact, I’d argue that anyone studying this area of law needs to understand its political dimensions to truly grasp what’s going on.
What follows is a summary of what I discussed.
I start by giving a quick overview of the Comprehensive Bill for the Protection of Literary and Artistic Property Rights. Then I look into why this bill mattered and why it’s so telling that it was never passed. From there, I explore how the media covered (or didn’t cover) the bill and how its uncertain fate reflects a familiar pattern in Iranian politics: sensitive topics often get swept under the rug through polarization and distraction. In the end, I argue that despite official claims, copyright in Iran is deeply political.
A Quick Backstory on the Copyright Bill
The draft of this bill dates back to around 2010 (1389–1390 in the Iranian calendar). It was put together by a group of university professors. It was heavily inspired by the World Intellectual Property Organization (WIPO) model, hence its complex and formal legal language— very much in the style of English-speaking legal systems. After getting the green light from the Intellectual Property Office at the Ministry of Culture and Islamic Guidance, it moved through the government as a proposed bill. Eventually, it reached the Iranian parliament, where it was handed off to the Legal Commission for a behind-closed-doors expert review.
Why the Bill Mattered and Why It Stalled
From the final years of Ahmadinejad’s presidency to the early days of Ebrahim Raisi’s, the bill’s journey was anything but transparent. Public updates were scarce, and no one really knew where it stood or if it would ever become law. That’s especially striking because this bill was the most serious attempt in recent years by the Iranian government to modernize its copyright system. One of its key goals was to bring Iran in line with international standards namely those set by the Berne Convention and the TRIPS Agreement. Meeting those benchmarks would have been a big step toward Iran eventually joining the World Trade Organization.
What the Bill Would Have Changed
If passed, the bill would’ve made some major upgrades to Iran’s copyright laws. For one, it would’ve extended protection to 'foreign' works published outside Iran (currently copyright only applies if a work was first published inside the country). Another big shift was the recognition of “related rights” which cover things like the rights of performers, producers, and broadcasters. These aren’t currently protected under Iran’s existing laws, so this would’ve been a meaningful step toward modernizing the system.
Media Buzz and Political Silence
During Rouhani’s presidency, the bill sparked real excitement. Some people even hoped it might kick off a major shift in Iran’s cultural policies. But as Rouhani left office and Raisi took over, the buzz faded fast. Updates became scarce, and eventually, all public information about the bill just disappeared.
How I Found Out What Happened to the Bill
In the winter of 2023 (1402 in the Iranian calendar), I unexpectedly learned what had become of the bill during a panel I was invited to speak at—part of a music industry expo held at Milad Tower. The topic I was covering was copyright, but it was another speaker, Mr. Sohrabi, then head of the Intellectual Property Office at the Ministry of Culture, who shed light on the bill’s fate. He gave a brief report explaining that the bill had been designed to pave the way for Iran to join the Berne Convention. However, what he was implying was that the broader 'system' (including input from high-level authorities like the Supreme Leader) had decided it wasn’t in Iran’s best interest to join. The main reason? Iran wasn’t ready to offer legal protection to foreign works, which the bill would have required. And with that, the bill was quietly shelved.
Mr. Sohrabi’s report had a noticeably critical tone. Without naming names directly, he seemed to place blame on the previous Rouhani administration for not being transparent, suggesting they hadn’t been upfront with the public about the bill’s slim chances of ever becoming law. What I took from his remarks was less a legal analysis and more a glimpse into political tensions behind the scenes. And just as things were getting interesting, he wrapped up his speech and left the event without taking any questions.
Polarization and the Politics of Copyright
In my view, the way Iran’s government has handled copyright reform fits into a broader pattern of decision-making that’s been problematic for years: deliberately polarizing sensitive issues to shut down meaningful debate. When it comes to copyright, the system seems to push people into a false choice—either you support the revolution and reject the need to update copyright laws entirely, or you align with the West and risk being seen as turning your back on your own people by advocating for reform. This kind of framing leaves no room for nuance. It silences the conversation before it even begins: solving the problem by erasing the question.
What Was Left Out—and Why It Matters
The bill wasn’t just about meeting the bare minimum requirements of international conventions. It also aimed to tackle serious domestic issues—like protecting the rights of Iranian artists, whose work is often used without permission or compensation. But this part was completely left out of Mr. Sohrabi’s report. That omission made it clear to me that the opposition to joining the Berne Convention was more of a convenient excuse. The real goal seemed to be blocking broader copyright reform, a reform that could’ve actually helped creators inside Iran.
Final Thoughts: Why Copyright Is Political in Iran
At this point, I don’t see much hope for the bill being revived, or for any meaningful updates to Iran’s copyright laws in the near future. The system seems deeply resistant to reform. But that resistance itself is telling. In future videos, I plan to explore how copyright can act as a shield against state censorship, and why the Islamic Republic views that potential as a threat. Understanding this tension is key to grasping the political weight copyright carries in Iran.
Saying that copyright is apolitical, in my view, oversimplifies the issue. Copyright isn’t just a legal technicality; it’s deeply tied to the needs of creative communities and the advocacy efforts of artists and creators. And in Iran, the space for that kind of advocacy to exist without being labeled political is extremely limited. That’s why, whether the government admits it or not, copyright inevitably becomes a political issue.
While I’d love to see renewed efforts or alternative paths toward meaningful copyright reform, the current landscape makes me skeptical. Based on what we’ve seen so far, the government seems firmly resistant to change. That’s why I believe it’s time to rethink the old approach of lobbying officials— a method still popular among many Iranians. When the system shows no willingness to listen, those efforts start to feel futile. Moving forward, it may be more productive to explore civil strategies and grassroots advocacy, even if the road ahead is uncertain.
Key Takeaways from the Video
Copyright in Iran is deeply political, no matter what official narratives suggest. It’s tied to power struggles over cultural production and legal protections, making neutrality nearly impossible.
The Comprehensive Copyright Bill was a major missed opportunity. It could have modernized Iran’s laws, extended protections to both domestic and foreign works, and brought the country closer to international standards.
The bill’s quiet dismissal reveals deeper political anxieties—especially concerns about foreign influence and the state’s grip on cultural expression.
Calls to depoliticize copyright ignore the lived reality in Iran, where legal reforms are often entangled with ideology and state control.
Any push for copyright reform must acknowledge the political terrain. Pretending it’s just a technical or legal issue risks missing the bigger picture.
Supporting creators’ rights in Iran will likely require alternative strategies, especially outside traditional government channels, given the current resistance to reform.
