By first discussing the past and present state of “Caribbean” filmmaking, the paper will draw on various theories including those of national cinema, cultural identity and representation, to make the case for Caribbean cinema as a cinema of its own. The paper will discuss this emerging cinema in terms of development of Caribbean styles and aesthetics, and the role of adaptation of West Indian literary classics and documentary filmmaking in establishing such a cinema.
Some of the main scholars and writers whose work will be referenced include Stuart Hall’s writings on cultural identity in the black diasporas; Mybe Cham’s work on Caribbean and African cinema, Benjamin Anderson’s theory of nations as imagined communities; the Cinema Novo and Cuban film movements; and interviews with Caribbean filmmakers at the 2nd Annual Festival of African and Caribbean Film.