Both the new'Caribbean cinema', which has now joined the company of the'Third Cinemas', and the emerging cinemas of Afro-Caribbean blacks in asporas' of the West, put the issue of cultural identity in question. Who emergent, new subject of the cinema? From where does it speak? The pract representation always implicate the positions from which we speak or writ positions of enunciation. What recent theories of enunciation suggest is that we speak, so to say'in our own name', of ourselves and from our own expe nevertheless who speaks, and the subject who is spoken of, are never exact same place. Identity is not as transparent or unproblematic as we think. Pe instead of thinking of identity as an already accomplished historical fact, w new cinematic discourses then represent, we should think, instead, of iden'production', which is never complete, always in process, and always consti within, not outside, representation. But this view problematizes the very au and authenticity to which the term,'cultural identity', lays claim. In this paper, then, I seek to open a dialogue, an investigation, on the su of cultural identity and cinematic representation. The T who writes here m be thought of as, itself,'enunciated'. We all write and speak from a particula and time, from a history and a culture which is specific. What we say is al context', positioned. I was born into and spent my childhood and adolescenc lower-middle class family in Jamaica. I have lived all my adult life in England