Because the diversity of languages and characters in the USSR as a new melting country of different nations, the cinema had become the most important medium for instruction of national identity, which created great cohesive force for the nationalism and ethnic integration during the most part of 20 century. The antient Central Asia was politically divided into five Ethnic Union Republics from the complicated geopolitical area of multi nomadic people under natural economy by the Soviet Union. For the cultural gap and extremely fierce ethnic contradictions here, the cinema of Central Asia must work as the more important political propaganda tool for the purpose of ethno-national integration than other ethnic. This admonitory appeal which has dominated the development of cinema art as the most important artistic functions in Central Asia for almost seventy years, and the cinema aesthetic trends of the Soviet Union have become the most important factors together in controlling and influencing the evolution of Central Asian cinema and even influenced the artistic styles of contemporary five countries again.
As an important tool for the implementation of national policy and a subsystem of the Soviet Union's film program, the function of the Soviet Central Asian cinema projects was to create a potential emotional connection that appreciated for been saved by the Soviet through the special themes, such as the ethnic epic about the revolution history after the World War I and the ethnic civil war at the beginning of the new nation, so urged the multi-ethnic region to be transformed, received and integrated the united idealism system. But the ethnic heroes in such region movies always symbolized subordinate ethnic identity as supporting roles for the perfect Soviet images no matter as liberated woman and children, or the enlightened reginal heroes. These images undoubtedly symbolize the mirror image of national integration of the Soviet Union with Russia as the center, also reflects the special political demands in Central Asia under the mainstream ideology of different periods. When the small nationalism was gradually sensed and the local capable filmmakers developed, the cinema of Central Asia tried to express the equal ethnic identities through the special themes from the perspective of subject such as great civilization achievements, outstanding contribution during World War II and special ethnic life experiences and realistic contradictions. However, the creative expression of subject perspective eventually was evaded under the increasingly harsh and autocratic cultural environment and became an exotic landscape setting off Soviet heroes in the national myth of the Soviet Union. Until the disorder of the cultural space of the Soviet Union between the middle and late 1980s, the marginal elite intellectuals had the opportunities to disintegrate the national value system which caused large influences in western world by camera, but not find the direction for the construction of the new national identity in such films.
After independence, the five countries in Central Asia have tried to trace back their respective history and sought common historical and cultural basis for the recognition of emerging national identity. Each country has launched a lot of research works for the construction of national brand in the era of globalization. Along with the process of new identity construction, it is the loss of Soviet identity and the recognition dilemma of new identity. Compared with the Central Asian films which had achieved high artistic achievements in the Soviet Union before independence, the film industry in the five Central Asian countries have different development directions after independence. Due to the separation from the support of the Soviet Union's film industry and the huge market support, as well as the sustained economic crisis and political turbulence at the beginning of independence, not only have the film industry of the five Central Asian countries failed to support national identity construction as propaganda tool, but also have fallen into a low ebb in both film production and artistic achievements. So far only Uzbekistan, Kazakhstan and Kyrgyzstan films have been included in the establishment of the national identity to some extent. The films in the three countries have a little commitment to the new ethnic integration, the national brand through the history themes and genre localization. However, they have not fully contributed to national brands and fully exerted the spread purpose of "others' guidance" to the national audience, so they did not achieve continuous production and reproduction under the immature industrial mechanism.  
It can be argued that compared with the cinema of other countries in the world, the evolution of the cinema in Central Asia have been most mainly influenced by the missions of identity in the ethnical integration process compelled by nationalistic policies for seventy years since its birth in 1920s. The process of ethnic integration of the Soviet Union was the most important driving force as well as a shackle restricting in the history of Central Asian cinema development. The brilliant achievements of Soviet film industry led to the outstanding artistic fruit of Central Asian cinema in this period, but the strong political admonition also limited the aesthetic exploration of national films. The interweaving of "the other" and "the subject" in the construction of national identity while the loss of ethnic identity as the construction of big identity, became the potential narrative strategies in the movies of Central Asia. However, the construction of the new independent national identity in the process of the new round of ethnic integration after independence, the nostalgia for the Soviet identity and the dilemma of the new identity have been becoming the following important social perspective that rethinking their respective present national situation and constructing the independent national identity during the era of Globalization.