Submitted by sammii on 06/02/2011 11:59 AM Flag This Paper
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How can cinema be understood as a transnational and/or global medium? How do its industries and products move across cultural, linguistic and national borders? How can we theorize and assess such transnational movements?
The attentions to the way that that the transnational medium allows film studies to address the changing connection between cinema, states and nations, also explore the reconfiguration of cinematic environment through the practices of globalization. Communications technology has long been considered one of the driving forces of globalization. The increasing of speed, volume, and scale of worldwide transmission has been one of the most dramatic and remarkable shifts in the media landscape. The transnational movement of information, texts, imagery, is radically expanding excessively out of our imaginations. Media culture, as the material of representation, thus becomes crucially important as a central site for the construction of identity in terms of our culture.
As a medium of representation, cinema, specifically, offers us pictures of our physical and social world, showing us where we live, with whom we share community, and from whom we are different as such national and international borders. Cinema offers us depictions of history, stories that explain to us how we got here and why our community is the way it is. When we participate in its production, cinema brings us together as cultural workers, people who participate in the representation of their social world, people who determine their own social horizons. If this cultural work is devoted to depicting a given place, it also defines that place by becoming one of the things cultural workers there do. The raise of transnational medium, then, is not simply rendered symbolically, but is embodied by a film’s characters and the film workers themselves. With a transnational medium in the cinema field, the literary, linguistic and nationwide boundaries becomes tenser up within industries....