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Cinema is not simply a medium of storytelling, but a crucial apparatus for shaping the politics of representation and visibility of the marginalized in a media landscape built on predominantly white, colonial foundations. As such, the ability to freely create and uplift stories which challenge preexisting stereotypes and dominant Western discourses surrounding issues of racism, colonialism, liberation, and so on is imperative to the evolution of this boundless mode. The following thesis aims to shed light on the gravity of these discourses and their representation in film by analyzing two films’ contrasting pictures of anticolonial resistance movements: Richard Attenborough’s Gandhi (1982), and Gillo Pontecorvo’s The Battle of Algiers (1966). By conducting detailed sequence analyses and applying the theoretical positions of scholars such as Frantz Fanon and Michel Foucault, this paper will interrogate how each film’s depiction of themes like division of space, biopolitics, and violence as a form of resistance are indicative of their relationship to the imaginary practice of visuality according to Nicholas Mirzoeff. Ultimately, it will go on to prove how the narrative and filmic structure of Gandhi reinforces the colonial mindset and foundations of visuality as an invisible practice through its prioritization of the hero’s journey over the representation of the resistance. Conversely, Battle will be proven as a film exemplifying countervisuality as its realist aesthetics and objective point of view validate the spectator’s right to look beyond the oversimplified, linear trope of “good” versus “evil”.