| Sumario: | The colonial government in the Belgian Congo feared the potentially subversive impact of cinema on the indigenous population, and consequently censored films from 1917 until decolonisation in 1960. This article examines the film censorship policies and practices in the Belgian Congo during the 1950s, specifically from 1952 to 1956, four years prior to Congo's independence. Archival material from the Africa Archives and 206 physically excised segments found in newsreels and fiction films formed our empirical base. Nearly half of all removals erased images of violence and armed rebellion, while another 39% suppressed strikes, demonstrations, or interracial solidarity. The pattern exposes a transition from paternalist tutelage toward anticipatory repression designed to pre‑empt anti‑colonial mobilisation. Case studies on newsreels covering the Algerian War, Korean POW exchanges, and the Indochina conflict reveal a consistent excision of scenes that exposed European vulnerability or represented collective resistance. These findings complicate the familiar 'infantilisation' thesis: censors simultaneously positioned Congolese viewers as naïve 'grands enfants' and as politically savvy subjects who had to be contained. By mapping that doubleness, the study shows that censorship did more than react; it actively produced the visual language of Belgian imperial power and its epistemic anxieties on the eve of independence.
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