Immigrant Cinema: National Cinema

Much has been written in France about beur cinema. The magazine Cinématograph?, for example, devoted most of its June 1985 issue to the subject, though it did extend its field of study well beyond beur films in the strict sense to the whole cinematic output of the North African immigrant community in the first half of the 1980s. ¹ Discussion of beur cinema as such focused mainly on the durability of a Franco-Arab school of filmmaking and, above all, on its definition.