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This is the image on the poster of Pressure, a 1975 film by the Trinidadian director Horace Ové - the film that is widely acknowledged to constitute the birth of black British cinema. This and other equally emblematic works, such as Menelik Shabazz'sBurning an Illusion, Isaac Julien's Looking for Langston and Saul Dibb's recent hit Bullet Boy, are all being shown at the National Film Theatre's ongoing Black World season. The season provides an opportunity to reflect on "Black British Cinema" - to consider what such a thing might be, where it came from, and what it has to say about Britain now. Because, over the last three decades, from Ové's Pressure to Amma Asante's A Way of Life, black British cinema has transformed the way it looks, the way it sounds and and the way it feels.

But where did it come from? A good starting point is Perry Henzell's iconic 1972 Jamaican movie The Harder They Come. Arguably, this fast-moving "rocksteady" cowboy caper provided the first meaningful cinema-going experience for Caribbean immigrants and their UK-born offspring, because it gave them a chance to see something of their culture on screen. Britons of African descent may point to the great Senegalese film-maker Sembene Ousmane as their talisman but his oeuvre has always been strictly art-house. The point about The Harder They Come is that it earned its popular-cultural resonance through its celebration of reggae, Jamaica's indigenous music and prime cultural export. The film's star was Jimmy Cliff, a man possibly cooler than Clint Eastwood (he's definitely a better singer). But Cliff was black Kingston, not black London - his story was a "back-home" narrative. Horace Ové tackled that very problem of identity head-on in Pressure (1975). A number of films - such as 1959's Sapphire (1959) A Taste of Honey (1961) and Leo the Last (1969) - had brought the troubled existence of black immigrants in Britain to the big screen, but Pressure showed that blacks were British.

And yet they were also foreign. The story of the struggles of Tony, a young black school-leaver, Pressure also illustrated that young Londoners of Trinidadian parentage such as Tony didn't belong. Racist employers and boot-camp coppers saw to that. Alongside Herbert Norville's Tony, Ladbroke Grove and Portobello Road are the inanimate co-stars of Pressure. They are relentlessly dreary places, rainy and grey, as yet unreached by 21st-century Notting Hill chic. This erstwhile ghetto - the route of Carnival - was a major flashpoint in the Seventies because of the tension between the establishment and local black residents, an enmity that Pressure graphically captures.Babylon and Pressure articulated the mixture of hopelessness and defiance that was an inextricable part of the black British condition in the early Eighties - the riots, the New Cross massacre, Linton Kwesi Johnson's dub poetry, blues dances, skinheads, the stop-and-search or "sus" laws and the Special