This study claims that the cinema sector is not only an existing mass communication tool to entertain individuals, but also a public relations tool that builds identity and makes them legitimate. Therefore, with every new product of the cinema industry, it has functions such as reviving an old ideology, creating an idea that is not present, revealing reality or distorting reality. In the study, an answer is sought for the question of which nationalism is represented by what discourses and in what situations, based on the Shooter movie, which produces legitimate anti-discourse meaning in addition to the general production patterns in the cinema industry. The study consists of two parts. In the first part, a general framework for image production, consent production and counter-propaganda is drawn in the cinema industry and the practices of these practices to keep the official discourse in circulation are given. In the continuation of the section, conceptual discussions about nationalism and types of nationalism are given and the use of the discourse of nationalism as a public relations activity in the cinema industry is explained with examples. In the second part of the study, in the movie Shooter the messages conveyed on the basis of nationalism are analyzed by content analysis technique, which is one of the qualitative methods. As a result of the research, it is revealed that, contrary to the meaning that the US government, which is tried to be reached in Hollywood cinema, is engaged in conflicts with the motivation of the understanding of liberal nationalism, in the example of Shooter movie, the meaning of the expansionist nationalism of the governments is the basis of the cross-border operations of the country and the meaning that this is not legitimate by the citizens.