A Ph.D. thesis by researcher Amari Allal, discussing the development of film criticism in Algeria and highlighting the contrast between academic and impressionistic approaches to film analysis.

The artistic and cinematic scene in Algeria still lacks a clear and well-defined critical methodology, particularly in the absence of a sound cultural policy that embraces and guides cinematic artistic work. Therefore, it has become essential to investigate the obscure aspects of this field through a comprehensive academic and scientific study of film criticism in Algeria—one that clarifies its nature, foundations, types, and its deep connection to the creative artistic process.

Such a study must also explore the active domains that embody this criticism across two main dimensions: one being academic and scientific, and the other impressionistic. Given that cinema is also a product of human intellectual and cultural thought, it naturally calls for a parallel critical discourse to study, analyze, and interpret it. Consequently, channels of criticism have multiplied and diverged into various directions.

This, in turn, necessitates serious and effective contributions toward developing cinematic culture among audiences and reshaping the critical path in Algeria.