To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. Say What You Mean: Globalization? This module offers a focused overview of transnational cinema with a non-exclusive emphasis on the recent cinemas of the Global South. In regards to reception, film can thus serve as a means to ameliorate this criticism of privilege based on access which is often encountered in literature, as it mostly does not require literacy or a complex comprehension of lengthy texts. It also aims to move away from a Eurocentric approach towards the reading of such films. While I can see the merit in such a strategy, I also wonder if getting Westerners to accept the “other” simply by allowing them to picture the “other” as themselves is really making any progress. What if she had found it beautiful and celebrated it? An example that immediately comes to mind is the Harry Potter series, which gained even greater notoriety after being transcribed into to the world of cinema. According to Ezra and Rowden, “film is rapidly displacing literature (in particular the novel) as the textual emblematization of cosmopolitan knowing and identity (3). In this way, the decision defines the film as one that “narrates the nation as just this finite, limited space, inhabited by a tightly coherent and unified community, closed off to other identities besides national identity” (Higson 18). Boundaries and borders play important roles in several of the ongoing story lines, from the mundane of national borders to the line between life and death. However, there is a mass of resource on national cinemas. If the approach is to lead with genre, narrative or representation theories, then perhaps an actual textual approach is best suited to determine an answer. At one point or another, I am sure all of us have overheard someone say “I’d rather wait for the movie to come out”. The anecdote about Harry Potter is particularly significant, as it reveals certain expectations and prejudices regarding race, gender and its intersectionality. It is more like an umbrella term used to describe many activities and historical connections between nations and national cinemas. Discourses and Definitions. What does the term transnational cinema actually mean? As a subject transnational cinema remains very hard to teach for a number of reasons. Afraid of losing profit due to potentially deconstructing the preconceived notions and imagination of a transnational audience, homogenizing the discourse and relationships within the film seemed of greater importance.
The Ministry of Magic even has a Department if International Magical Cooperation! Registered in England & Wales No. Register to receive personalised research and resources by email, Concepts of transnational cinema: towards a critical transnationalism in film studies, w.e.higbee@exeter.ac.uk s.h.lim@exeter.ac.uk, /doi/pdf/10.1386/trac.1.1.7/1?needAccess=true, Medicine, Dentistry, Nursing & Allied Health. 5 Howick Place | London | SW1P 1WG. In a largely globalised and capitalist world there are certain power relations that cannot be separated from visual moving images. It must be pointed out at this juncture that Transcultural Cinema need not be transnational and is often confused as so.
Recently there has been a proliferation of writings and theories about this subject and in this blog, we hope to clarify the situation better. What I’m wondering, though, is the fact that millions of people (I’m assuming) have seen the Harry Potter series, thus making it more likely to find mix-ups or errors or, in this case, changes in the race of a character in a film; yet, would this “homogenization” be found in lesser known films, such as indie movies, and, if it was found, would the studio who produced the film receive any backlash (due to the smaller quantity of viewers who expressed anger)?
There is probably not one definitive explanation of this question of what transnational cinema is. Or Something Else? The question of the race and its representations in movies is a very important issue. The contributors parse and elucidate the proliferating typology of emergent national, international, transnational, world, multinational, postnational, paranational, and global cinema practices and theories worldwide. I think your choice of the Harry Potter series, both the printed and filmed versions, allows for quite a few interesting connections to the themes we’ve discussed in class so far. "Transnational Theory and Criticism" is the collaborative project of graduate students at the University of Maryland enrolled in the course of the same name during the fall semester of 2014. It argues for a critical form of transnationalism in film studies that might help us interpret more productively the interface between global and local, national and transnational. Cosmopolitan may influence and can include transnational ideals and give the filmmaker motivation to produce material based around this. However, in her few appearances in the first five films, she is played by an African American (or Afro British) girl, as can be seen below: This, in itself, did not become controversial until the cinematic version of Harry Potter and the Half-Blood Prince (book 6) came out, where viewers suddenly found a completely different actress cast as the character of Lavender. The first major problem is that it is still a relatively new subject and therefore there is little reference material based on the subject on how to actually teach transnational cinema. I would like to draw specific attention to a character named Lavender Brown, a fellow Gryffindor in Harry’s year. Ezra and Rowden quote Jigna Desai and make a great point about reception by saying that “those films most likely to circulate transnationally are those that are more ‘Western friendly’, adopting familiar genres, narratives, or themes” and thus function “as ‘tasty, easily swallowed, apolitical global cultural morsels’ (6). Another term connected with transnational cinema has been Cosmopolitan Cinema, but this term is basically just an idea and not a comment on social practices and cultural differences. Cinema as a medium has become a more prevalent form of exposure to the concept of transnationalism, especially for the younger generations that do not remember a time without television or the internet.
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