Although Assia Djebar may not be a film theorist in the strict academic sense of the term, we may certainly recognize her insights into her creative intentions and struggles with the cinematic medium side-by-side theoretical work of other film theorists. In considering her varied literary, poetic, dramatic, and cinematographic work, we may now discuss much of her work not solely as primary artistic examples in which feminist and postcolonial literary and film theories resound, but as actual theoretical discourses, themselves. We already know Djebar as a novelist, translator, filmmaker, poet, essayist, keynote speaker, and playwright, but we now growingly know Djebar as a theorist. This essay will examine several key theoretical cinematic positions set forth in the opening segment of Djebar's 1978 film, La Nouba du Mont Chenoua, and how she theorizes these cinematic positions in her more recent written work, Ces voix qui m'assiegent (1999).