By introducing Bourdieu's notion of symbolic violence, the author explores the state uses of the cinematic industry—notably through the making of grandiose national epics—in the endeavor to model and, ultimately, to assimilate Muslim minorities during the so-called “Revival Process” (1984–1989) in socialist Bulgaria. Drawing attention to often-neglected aspects of film production, such as the selection of symbolically charged “national landscapes,” shooting locations, and the use of Muslim film extras, she examines the production of a state-sponsored historical master narrative, its widespread dissemination at home and abroad, and the attempt at channeling film reception by national minorities and the majority population. The visual recreation of the alleged Ottoman “forced islamization” of Christians and the blurring of the distinction between fiction and fact, as well as past and present were intended to boost the national pride of the majority, achieve support for anti-minority measures, and win the obedience of minorities.