ABSTRACT
British cinema really started to tackle the question of black immigrants and their descendants after the 1958 Notting Hill riots. Over sixty years, all films repeatedly oscillate between the blending in and the othering of black Britons, whether the discourse is intentional or not. These films have therefore always been a way for directors to contribute to the debates over the question of national identity in the United Kingdom and, in the end, promote an inclusive redefinition of Britishness. Since 1959, British cinema has presented the idiosyncrasies and evolution of black Britons in a professional and/or family environment. Films have always shown recurrent types of rejection of black Britons. The discourse of the supporters of Rastafarianism or the Black Panthers is also debunked because their obsession with black power and what it means to be black is seen as a negation of multiculturalism which leads to endogamy and seclusion.
