As cultural identity being questioned in global screen due to the influences of transnational cinema and Diasporas in different places, this clip question further the possibilities in future transnational cinema. Through the emergence of cinema styles, all films are to be considered transnational. This essay will argue that transnational cinema could be emerging to a new level in the film industry. The clip provided with the essay explores the potential of transnational films with the context of films studied included in this subject. As Ezra and Rowden argues, the “key to transnationalism is the recognition of the decline of national sovereignty as a regulatory force in global coexistence. The impossibility of assigning a fixed national identity to much cinema reflects the dissolution of any stable connection between a film’s place of production and/or setting and the nationality of its makers and performers” (Elizabeth Ezra 2006). Hollywood films unnecessarily sets in the United States while Bollywood film doesn’t mean produce in India, film nowadays can be produced anywhere outside their homeland. This will lead to a new version of transnational cinema as this is a developing concept that has no clear definition for its category. In conjunction with the crossover audiences, transnational cinema plays a vital role in global screen culture. Srinivas argues that transnational shaped the globalized imagination and therefore it increases peoples’ desire for the real experience of transnational through travelling (Srinivas 2005). Transnational cinema is expanding alongside with the growing Diaspora in the globe. Deterritorialization explores film productions outside their own country and crossovers often depicted in most films in... ... middle of paper ... ...er Assayas. 1996. Athique, Adrian M. "The 'crossover' audiences: Mediated multiculturalism and the Indian film." Continuum: Journal of Media & Cultural Studies, 2008: 299-311. Casablanca. Directed by Michael Curtiz. 1942. Elizabeth Ezra, Terry Rowden. "General Introduction: What is Transnational Cinema?" In Transnational Cinema: the film reader, by Terry Rowden Elizabeth Ezra, 1-12. New York: Routledge, 2006. John Hess, Patricia R. Zimmermann. "Transnational Documentaries: A Menifesto." In Transnational Cinema: the film reader, by Terry Rowden Elizabeth Ezra, 95-105. New York: Routledge, 2006. Black Cat White Cat. Directed by Emir Kusturica. 1998. Rush Hour. Directed by Brett Ratner. 1998. Srinivas, Lakshmi. "Communicating globalization in Bombay cinema: Everyday life, imagination and the persistence of the local." Comparative American Studies 3, 2005: 319-344.
Kraus, Carolyn. "Screening the borderland: transsexualism as cinematic metaphor." CineAction 78 (2009): 17+. Expanded Academic ASAP. Web. 5 Oct. 2011
The Latin American film genre is one of the most known genre worldwide and one of the most popular and successful of all of the genres in this business around the world. Yearly a number of productions from Latin America become favored and demanded successes, often-earning high levels of recognition and recommendation. In foreign film categories and in events and functions such as the Oscars, which are very highly respected around the world, Latin American films are awarded and praised and unquestionably make audiences sit on seat’s edge to bear mind films being produced in countries here. Latin American films are most likely to be as successful as they are because of the mixture of all of the elements, which their cinema provides, including
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Mimura, Glen M. "What Is Asian American Cinema." Introduction. Ghostlife of Third Cinema: Asian American Film and Video. Minneapolis: University of Minnesota, 2009. N. pag. Pdf.
Sholay, Women on the verge of a Nervous Breakdown, and Amores Perros have very different cinematic styles; yet, are equally able to convey their messages effectively to their audience. These films span four decades (from the 1970s to 2000s), take place in very different countries; however, are all connected in that all three films are masterful works of cinematic genus and that globalization greatly affected each film.
While I am an avid critic and a skeptic of the Indian “Hindi” film industry, it is hard for me to ignore the cultural significance that Bollywood holds. While pop-culture is a representation of the society, films also hold the responsibility of perpetuating, and in some cases exaggerating, long held beliefs. Much like the film industry in the
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
During the process of globalization, countries are about to understand others’ culture as well as to realize how one’s culture compares and contrasts with other. Media globalization stands for the process in which film companies deliver images of national cultures to the whole world. In fact, the process of globalization increased the number of global cinema audiences; their aesthetic is having a profound effect on the way that Hollywood films are being made. Traditionally Hollywood is unfair and pernicious in its portrayal of Asian, but things get changed. According to recent figures from the Motion Picture Association of America (MPAA) to almost 70% of the studio’s annual revenues from box office now come from international markets. Potential overseas customers nowadays determine the style, cast and characters image of a film.
Cinema studies: the key concepts (3rd ed.). London: Routledge. 2007. Lacey, N. (2005). The 'Standard'. Film Language.
Ruberto, L.E. and Wilson, K.M. (ed.) (2007), Italian Neorealism and Global Cinema, Detroit: Wayne State University Press.
Ruberto, Laura E., and Kristi M. Wilson. Introduction. Italian Neorealism and Global Cinema. Detroit: Wayne State UP, 2007. 7. Print.
African cinema has evolved in multiple facets since postcolonialism milieu. Post-nationalist African cinema has transformed into a more complex network that simultaneously incorporates both global and national issues alike. Modern post-nationalist films aim to aim to repudiate a homogenized notion African Cinema while highlight the diversities in African cinema, unlike antithetical early nationalist variants which portrayed a generalized African identity. These post-nationalist film makers advocate the need for utilizing new film languages and ideals suitable to the contemporary cultural, social, political and economic situations of different African countries. Certain developments have been instrumental to this gradual cinematic evolution
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Eshun, K. and R. Gray (2011) 'The Militant Image: A Ciné‐Geography', Third Text, 25 (1), p. 1-12.
Rao, S. (2007). The globalization of bollywood: An ethnography of non-elite audiences in india. The communication Review, 10(1), 57-76. doi: 10.1080/10714420601168491