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films; transnational critical approaches; cinema of globalization; films with multiple locations; modes of production, distribution, and exhibition; transnational collaborative networks; transnational viewing practices; transregional/transcommunity films; cultural exchange; transnational influences; transnational stars; transnational directors; the ethics of transnationalism; exilic and diasporic filmmaking; and transnational collaborative networks. In addition, Mette Hijort of
Lingnan University in Hong Kong, coined seven modes of transnational cinematic production: cosmopolitan; affinitive; epiphanic; globalizing; milieu-building; opportunistic; and experimental. More broadly, Steven Vertovec of the Institute for the Study of Religious and Ethnic Diversity, presented six facets of transnationalism in general which he believed to be worthy of further research. Specifically, transnationalism as: a type of consciousness; a site of political engagement; an avenue of capital; a (re)construction of âplaceâ or locality; social morphology; and a mode of cultural reproduction.
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historical event. The re-enactment provides a physical discourse that allows audiences and actors alike to re-live the events that took place, recreating memories on screen. While the film takes place from the perspective of the perpetrator, focusing on the experiences of those murdered, it was not directed by anyone involved or affected, but rather by a white, Western filmmaker. With his whiteness and
Western perspective comes a sense of trust and authority felt by Indonesian elites as well as world-wide audiences of which Oppenheimer was aware, using it to his advantage as a storyteller. This problematic Westernized view often shines through in Oppenheimerâs questions and commentary throughout what he calls a "documentary of the imagination". Though well-intentioned, his âlove letterâ of a film becomes a âshock therapy session prescribed and carried out by a concerned Westernerâ rather than an authentic retelling from the Indonesian perspective.
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man with the white man about the primitive-nature man," constantly othering those who are oppressed or do not fall within
Eurocentric standards. She believes it to be necessary that the "study of and advocacy for the oppressed" must be conducted by the oppressed themselves, rather than those more privileged. In fact, the act of speaking from a place of privilege on the behalf of those less privileged often results in reinforced oppression of those minority groups. Transnational films must strive to follow these same guidelines, allowing for stories to be told by those who have lived them or by those still affected by the events of those stories. Creating a global community through transnational cinema can be possible, but only when the tools and perspectives involved branch beyond the binary of Western versus "Other."
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international coproduction or partnership between e.g. the cast, crew and location without any real consideration of what the aesthetic, political or economic implications of such transnational collaboration might mean. Based on this proliferation of the term, Higbee and Song Hwee mention that it has led some scholars to questions whether the term is profitable to use or not. In fact, a panel on transnational cinema took place at the 2009 Screen
Studies Conference in Glasgow where members questioned the term âtransnationalâ and its critical purpose in film theory.
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perpetuate binary division, World Cinema makes efforts to overcome those binaries to be all-encompassing and inclusive. Despite these efforts, however, the âfilms most likely to circulate transnationally are those that are more âWestern-friendlyââ and have adopted âfamiliar genres, narratives, or themes.â This is often done to fulfill the âdesire for tasty, easily swallowed, apolitical global-cultural morsels,â craved by audiences accustomed to
American Orientalism.
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link people or institutions across the nations. The transnational works like a partnership which is joined together through several mediums, such as cinema. In connection to this, Sheldon Lu has identified what she calls âan era of transnational postmodern cultural productionâ in which borders between nations have been blurred by new telecommunications technologies as a means of explaining the shift from national to transnational cinema.
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reference to films that âchallenge national identity." To certain scholars it marks the moment in time when globalization began to impact the art of cinema, while to others it stretches back to the earliest days of filmmaking. Some consider it to be âbig-budget blockbuster cinema associated with the operations of global corporate capital, small-budget diasporic and exilic cinema.â
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cross borders and nations, they require funding that only
Western-based films are provided- many of which end up speaking for minority groups from a majority perspective. As Linda Alcoff frames it, certain anthropological conversations become "conversations of 'us' with 'us' about 'them' of the white
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Dr. Zhang
Yingjin, a professor of Chinese Studies and Comparative Literature at the University of California, San Diego, goes as far as to argue that the term is obsolete due to the volume and inconsistency of its uses and definitions. He explains that if the concept merely points to film as a medium
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For example, Deborah Shaw of the
University of Portsmouth alongside Armida De La Garza of University College Cork, created a carefully crafted list of fifteen types of reading film through a transnational lens. The categories included: modes of narration; national films; transregional/transcommunity
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uses reenactment as a process of memory and critical thinking in the re-telling of the
Indonesian genocide of 1965. It focuses on one perpetrator, in particular, revisiting and re-enacting his experiences as an executioner, forcing himself and audiences to physically and psychologically re-live the
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Despite these attempts to repeatedly divide transnational cinema into more digestible and comprehensible pieces, the concept still remains largely ambiguous. The term is often used when referring to foreign films consumed by those of different nationalities with the help of subtitles, as well as in
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Transnational cinemaâ appears to be used and applied with increasing frequency and as Higbee and Song Hwee argues, as a shorthand for an international mode of film production whose impact and reach lies beyond the bounds of the national. The term is occasionally used in a simplified way to indicate
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As to this, the telecommunications technologies threatens the concept of a national cinema, as especially the connection powers of the internet links people and institutions and thereby converts national cinema to a transnational cinema. Ezra and Rowden states: "the vast increase in the circulation
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This film is a prime example of the problems that arise within the world of
Transnational cinema; Films are often tailored to the Western audience or at the very least, told by a member of the Western world. Since most authentic transnational films void of Eurocentric influence are distributed via
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While the dynamic and often contradictory term itself sparks confusion, there remain many films that effectively represent the nature of transnational cinema in a multitude of ways, working to unthink Eurocentric film norms. It is important to note that while traditional cinema has the tendency to
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Transnational cinema urges a certain shift away from films with a national focus. Ezra and Rowden argue that Transnational cinema âcomprises both globalization and the counter hegemonic responses of filmmakers from former colonial and third world countriesâ, and further that the transnational can
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The concept of âtransnational cinemaâ has been highly debated for decades and scholars have yet to agree on a single definition. In fact, in many cases, the various definitions of âtransnational cinemaâ presented by different scholars have been very much in contradiction to one another. Scholars
119:(...) to date the discourse of cinematic transnationalism has been characterized less by competing theories and approaches than by a tendency to use the term âtransnationalâ as a largely self-evident qualifier requiring only minimal conceptual clarification.
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The concept of transnational flows and connection in cinema is not a new term â judging by film history and the increasing number of book titles that now bear its name â but the recent theoretical and paradigmatic shift raises new attention and questions.
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The increasingly transnational practices in film funding, production, and distribution combined with the 'imagined community' thus provide the basis for an argued shift towards a greater use of transnational, rather than national, perspectives within
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Shefrin, E. (2006). Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New Congruencies Between the Internet and Media Entertainment Culture. In Ezra, E. & Rowden, T. (eds.) 'Transnational Cinema, the Reader' (pp.73-80). Abingdon:
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Dennison, S. & Lim, S.H. (2006). Situating World Cinema as a Theoretical Problem. In Dennison, S & Lim, S. H. (eds). 'Remapping World Cinema: Identity, Culture and Politics in Film'. (pp.1-15) London & New York: Wallflower
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Hjort, M. (Forthcoming, 2009). On the Plurality of Cinematic Transnationalism. In Newman, K & Durovicova, N . (eds.) 'World Cinemas, Transnational Perspectives'. London: Routledge/American Film Institute
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Hess, J. & Zimmermann, P. (2006). Transnational Documentaries: An Introduction. In Ezra, E. & Rowden, T. (eds.) 'Transnational Cinema, the Reader' (pp.97-108). Abingdon: Routledge.
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that has the ability to transcend languages, cultures, and nations, then it has been âalready subsumed by comparative film studiesâ and therefore lacks any value within academia.
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Higbee, Will & Lim Song Hwee. âConcepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies,â Transnational Cinema, vol. 1, no.1, 2010: 7-21
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Higson, A. (2006). The Limiting Imagination of National Cinema. In Ezra, E. & Rowden, T. (eds.) 'Transnational Cinema, the Reader' (pp.15-26). Abingdon: Routledge.
107:. Global communication through the internet has also resulted in changes within culture and has further resulted in film transcending perceived national boundaries.
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of films enabled by technologies such as video, DVD and new digital media heightens the accessibility of such technology for both film-makers and spectators".
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Building Blocs - Nagata Masaicho and the Creation of Transnational Film Consensus in Cold War Asia|The Council on East Asian Studies at Yale University
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Yngvesson, Dag. âThe Act of Humanism: Jagal, Preman Love and Economies of Truth.â Wacana: Journal of the Humanities of Indonesia 15, no. 1 (2014): 212.
79:. National identity has been posited as an 'imaginary community' that in reality is formed of many separate and fragmented communities defined more by
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Radovic, Milja. Transnational Cinema and Ideology : Representing Religion, Identity and Cultural Myths (Taylor & Francis Group, 2014) 17.
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have taken to breaking down the term into distinct categories, in an attempt to allow a generally broad idea to become more clearly defined.
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Transnational cinema debates consider the development and subsequent effect of films, cinemas and directors which span national boundaries.
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Ethical Encounters: Teaching Transnational Cinema: Politics and Pedagogy, by Katarzyna Marciniak and Bruce Bennett (eds.) â Senses of Cinema
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Radovic, Milja. Transnational Cinema and Ideology: Representing Religion, Identity and Cultural Myths (Taylor & Francis Group, 2014) 17.
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Radovic, Milja. Transnational Cinema and Ideology: Representing Religion, Identity and Cultural Myths (Taylor & Francis Group, 2014) 18.
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The broad scope of topics relating to Transnational cinema has raised some criticisms over its exact definition, as Mette Hjort notes:
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How history and politics blazed a trail through East Asian cinema: Chinese transnational dreams|HERO magazine: A fresh perspective
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Berry, Chris. âWhat Is Transnational Cinema? Thinking From The Chinese Situation,â Transnational Cinema, vol 1, no. 2, 2010: 114.
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film festivals rather than blockbuster screenings, they often do not easily reach Western audiences. Should films such as
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Transnational Cinema at the Borders: Borderscapes and the Cinematic Imaginary, London & New York: Routledge, 2018.
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The Uncanny Child in Transnational Cinema: Ghosts of Futurity at the Turn of the Twenty-first Century on JSTOR
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Desai, Jigna. âBeyond Bollywood: The Cultural Politics of South Asian Diasporic Film.â Academia, 2004: 86
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Desai, Jigna. âBeyond Bollywood: The Cultural Politics of South Asian Diasporic Film.â Academia, 2004: 43
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upon the cultural and economic aspects of film. It incorporates the debates and influences of
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Alcoff, Linda. âThe Problem of Speaking for Others.â Cultural Critique, no. 20, 1991â1992: 7
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Alcoff, Linda. âThe Problem of Speaking for Others.â Cultural Critique, no. 20, 1991â1992: 6
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Ezra, E., & Rowden, T. (2006). Transnational Cinema: The Film Reader. London: Routledge
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Rethinking Transnational Cinema: The Case of Tamil Cinema â Senses of Cinema
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What Is Transnational Cinema? - Transnational Cinema & Online Culture
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What Is Transnational Cinema? - Transnational Cinema & Online Culture
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Transnational Cinema in a Global North: Nordic Cinema in Transition
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Shooting the Family: Transnational Media and Intercultural Values
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East Asian Cinemas: Exploring Transnational Connections on Film
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Bollywood: Popular Indian Cinema Through a Transnational Lens
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Transnational Chinese Cinemas: Identity, Nationhood, Gender
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Rethinking Transnational Cinema: The Case of Tamil Cinema
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Multiculturalism, Postcoloniality and Transnational Media
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The âAuthor Functionâ in Transnational Film Adaptation
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Manifest Density: Decentering the Global Western Film
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The 25 Best Foreign Films of the Decade - The Ringer
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789:, Vienna: LIT, 2013.
17:Transnational cinema
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