Self-censorship in Saudi cinema: aesthetics and representations

The thesis examines how self-censorship manifests in Saudi cinema and how it defines on-screen representations and aesthetics. Conventional studies on film censorship have typically adopted a binary framework, positioning filmmakers in opposition to institutional censorship. In contrast, this thesis reconfigures the discourse by treating filmmakers as active agents in the censorship process. Framed by the theoretical work of Michel Foucault and Christian Metz, the study moves beyond traditional definitions of censorship to explore how self-censorship operates at multiple levels: internalized, conforming, and resistant. Internalized self-censorship is an unconscious, ingrained power of discipline, manifesting as automatic practices shaped by the filmmaker’s internalization of societal expectations and a result of functioning within a panoptic environment. Conforming self-censorship is a conscious, deliberate response to societal pressures, where the fear of surveillance or public scrutiny governs creative decisions. Both forms of self-censorship can be recognized in gender representations and visual strategies that align with cultural and religious norms, adhering to deeply embedded concepts of gender and honor. Sensitive or taboo topics, including representations of relationships and desire, are often condensed, displaced, and symbolized rather than shown directly. These choices reflect self-censoring operations and shape Saudi cinema's visual language, creating an aesthetic that prioritizes implication over explicit representation. Resistance, a counterpart of power, is also visible through meta-cinematic techniques that expose the decisions made by filmmakers to navigate, critique, or engage with the constraints imposed on them. The thesis also considers the persistence of self-censorship practices amidst ongoing cultural and social transformations in Saudi Arabia. In addressing these dynamics, the research contributes to an understanding of how the interplays of restriction, negotiation, and resistance ultimately shape the evolving aesthetics of Saudi cinema.