Abstract:
This thesis explores the intersection of visual activism, censorship, and political dissent through an analysis of Jafar Panahi's filmography in the context of state censorship in Iran. By drawing upon the theories regarding the transformative power of images (Steyerl, altri) and the research conducted on social movements (Adami, altri) this study aims to explore the ways in which the Iranian director employs film as a medium for visual activism. The research examines how censorship in Iran and the restrictions faced the filmmaker Panahi has influenced the representation of dissent and political activism in his filmography. It explores the creative responses of Panahi in challenging dominant power structures and how these responses align or diverge from the visual strategies adopted during the Arab Spring, highlighting the significance of visual activism and the power of poor images in countering censorship and documenting popular movements.
By situating Panahi's filmography within the broader framework of resistance and socio-political change, the thesis aims to understand the convergence and divergence of perspectives and methodologies adopted by the literature on the topic in their exploration of visual activism and the socio-political role of images, underlining their impact on marginalized voices and their ability to subvert existing power dynamics. Ultimately, the objective is to contribute to a deeper understanding of visual storytelling as a powerful tool for resistance against censorship, authoritarian regimes, and social inequalities, identifying the strategies adopted to this end. Highlighting its potential to challenge dominant narratives this research hopes to shed light on the ways in which it is possible to empower marginalized communities, contributing to a larger conversation on visual representation, dissent, and social change in the Middle East.
