Manifestations of Self-censorship in Amazigh Riffian Movies

In the realm of Riffian filmography, the theory of the Spiral of Silence comes to the fore as a lens through which we explore the phenomenon of self-censorship. This exploration is centered around an analysis of some Riffian movies, which are intentionally chosen to spotlight the clear instances of self-censorship, rather than being chosen randomly. Employing Textual Analysis methodology, analysis of different mise-en-scènes and language use is conducted so as to substantiate the argument that movie directors self-censor due to fear of social isolation. It is imperative to clarify that the argument in this article does not imply that Riffian movie makers face censorship from authorities or individuals in positions of authority. Instead, it is stressed that the audience, to whom these movies are directed, becomes an obstacle, compelling scenarists, scriptwriters, directors, and perhaps even actresses and actors to self-censor in an effort to shun the possible hostile reaction of the targeted spectators. In brief, the Riffian movies under study abstain from employing profane language, opting instead for euphemistic words and expressions to navigate taboo topics. Furthermore, they purposefully conceal sexually explicit scenes. These deliberate choices are made with the intention of respecting the expectations of the targeted spectators and avoiding potential backlash. Key words: Self-censorship, Amazigh Riffian movies, Spiral of Silence, euphemism, taboos, profane language The International Journal of Cross-cultural Communication and Media Studies , Vol. 1 No. 1 (2024): Media Censorship in the Arab World: State Control of Imported Media Productions