The Meanings of the Term Transnational Cinema, As Well As Its Associated Terms - Coursework Example

The meanings of the term transnational cinema, as well as its associated terms. Foundation Department 4th, April 2015 In the 21st century, the desire to produce futuristic films is paramount given that competition has dampened the agile natuure the industry. A close futuristic approach is the adoption of transnational cinema. Convincingly, different cinematic dialogs have been engaged to ensure that human aspect is significantly addressed. Through film, modern myths are told for which filmmakers are considered the mythmakers. For that reason, film becomes a space in which cultural myths, based upon notions of religion and nationhood are expressed. A close genre is post-apocalyptic science fiction. Thus, justifiably, the ideological aspects of cinematic representations of religion, cultural myths and identify in a global context are much prevalent. The incoming research will explain the meanings of the term transnational cinema, as well as its associated terms. There are multiple theories that are continued to evolve around the transnational cinema. Given that the studies of the globalization under the umbrella of cultural studies has paid little attention to global complexity and structural contingency, there are viable theories of the contemporary world to provide a systematic comprehension of the structure of the world. However, such authors insist that there is a need to shift to a single world order, for example, capitalism, imperialism, and new media systems. In essence, globalization is not an issue happening behind human backs but one that converges conceptions. Thus, it is significant to understand the concept of globalization given the nature of the transnational cinema. Theories, for instance, universalism and particularism are not seen as totally separate and opposing tendencies. In relation to transnational cinema, both the named methods are tied together as part of the globe broad nexus. Reflectively, contemporary globalization happens to be a form of institutionalization two-fold process involving the universalization and particularism. These theories explain complex ideologies, for example, global-human concreteness. This is a wider idea of international dispersal and appeal of the idea of nationalism. The idea of transnationalism is therefore oriented from the concept of universalism followed by particularism. Given that, human beings are in dire need of immediate solutions, to humankind problems films acts as revelations of what actually happens. For example, an anthropological model for a community argues that human beings need to solve issues globally. Convincingly, global fields, for example, religion enjoy some degree of autonomy. Thus, in transnational cinema, it is possible to reflect on globalization by different national societies and individuals who are willing to change the face of globalization. There are themes that have continued influencing transnational cinema. Ahn (2010: 49) believes that the need for a global consciousness of the world affects the quality of universal human dialect. Anti-global gestures are encapsulated within the discourse of globalist and resistance as part of the interaction involved in the global field that shape the process of globalization. Thus, in relation to the discussion of transnational cinema there burgeoning debate on the influence of globalization on the role of fundamentalism. The study of an ideological aspect of cinematic representations of religion, cultural myths and identity in a global context compares the transnational point of view. For that reason, the discussion of global and national aspects of the associated cinematic representation cannot be ignored. In fact, the relation between local and global dialogs cannot be ignored given that mainstream periphery consequently become colonized. The stereotypical representation of others and self-representation are dialog springs from the specific local ideological viewpoint, of self-representation that might be shaped by global stereotypes. Halle (2006: 44) argues that models of transnational production and distribution of films have allowed the emergence of differences in narratives and esthetics. Most interpretation naturally varies depending on the cultural context that the film is presented. Responsively, transnational cinema leads to the construction of mythical transnational cinema perspectives. There are different definitions of transnational cinema. Without the exclusion of naturally and culturally specific film, transnational cinema happens is not a post-national concept but rather as an arena in which the national and transnational aspects interact. Furthermore, transnational cinema incorporates religious and humanity dialogs. As well, other researchers, for example, Zebracki (2014: 2) are beginning to relate transnational cinema and national cinema by advocating a wider approach in film studies. Transitional cinema precedes national cinema since it reflects how issues operate in the broader context. Transnational Cinema has the unique potential to convey a criticism of different forms of totalitarianism and ideologies, of a nationalist environment. Based on the justification above, one will note that there are multiple theoretical perspectives on transnational cinema, contextualizes on the discussion of insights. Question currently being linked is concept of transnational cinema is the question of how tenable the concept is, and whether the terms multinational derive from global capitalist discourse and does reflect that particular relation between ethnic and market forces. There is also a question of the tenability of the term transnational cinema. For example, during the cold war era, the co-production and circulation of films as cultural products implied to the spreading of ideas from the borders they originated from. In those times, modes of transnational production and distribution enabled the emergence of differences in the esthetics, narratives, and interpretation. Rightly, the translation of different film stories into diverse contexts is a consequence of the fact that narratives usually have universal dimensions, as they deal with the human condition. From that perspective, it is clear that transnational cinema does not exclude the so-called national, or culturally specific theater. Questions investigate whether transnational cinema is more closely understood by looking at specific issues, for example, the interconnection of identity, cultural and religion. Some questions investigate the influence of cross-cultural interpretations of a transnational film. For example, a film like Oblivion (Kosninski, 2013), by Tom Cruise might fail to appeal as a transnational film in Middle East because of factors such as language or theme. Responsively, the idea of trans-nationality that is derived from economics and migration to different fields of human activity reflects on the nature of human activity. Some religions have always been transnational, given that it is important to understand the developing nature of further insights. Researchers, for example Schwarz (2014: 105) have argued that since culture is what creates space, where people feel ‘safe’ and ‘at home’ where they belong, then developing a movie that answers these cultural disparities is important. Previously, movies were connected to the idea of national identity. However, after the collapse of cold-war politics, human beings began facing unified global problems. In some parts of the globe, transnational cultural interflows and resonance within Asia are founded on economic synchronicity brought about by the success of capitalist modernity in the region. For example, attempts to revive films in the Balkan country created a phenomenon of nationalism. However, these attempts were partially short-lived. Conversely, transnational cinema has continued facing problems. The field of transnational cinema studies is burgeoning one. Different parties have been trying to address challenges in the industry. Most countries have developed a cultural policy one that draws attention to promising transnational initiatives that film companies, operating within the parameters transnational context often face. A close sub-subject is the challenges associated with economic disparities. In most cases, American cinema stands out as a distinctive case. For example, the development of a futuristic T.V series such as Revolution (2011-2013) reflects on the idea of contemporary theater. A smaller country might lack the logistics to develop such a set. In America, filming is successful. Global companies such as 20th Century Fox or Warner Bros. lead American transnational cinema agenda. A principle objective of selecting US cinema is that, US film industry leads the ideology. American transnational films are rich in symbolism that expresses cultural and political myths that reconfirm the nation’s identity. In America, the transnational concept is developed from specific socio-political and cultural conditions. For instance, within the large body of theoretical research on religion and film, the discussion has changed from religion in the film to films as religion. Question investigate whether religious scholars have been focused upon the film or actually becoming a substitute for religion. This shifts the focus from film representation of religion and biblical contexts. Shifting the focus from how the film represents religion and biblical texts increases the observation of the film as a form of religion. Nonetheless, different authors have justified the importance of the scholars in examining the participative role of the audience that creates the spiritual experience. Thus, in relation to the theme of religion there is a need to investigate the critical reception of films analysis, principally because of the variety of interpretations and the changing meaning of films in diverse cultural contexts. The significant role in this investigation is the reinterpretation of different ways, where meaning and changes transform when viewed in different contexts. Thus, in other words, it is theoretical right to justify that in transnational cinema setting, how the audience interprets various issues remains to be a central concern of the film. For example, the social and subversive functions of religious images provide a good ground for interdisciplinary research on the diverse meanings, adaptations and interpretations of religious symbols in different societies. With time, transnational theme develop has remained to central objectives. In fact, many different genres and sub-genres have taken effect. For instance, the sub-genre spy-fiction has been developed to bring out genre such as action. For that reason, transnational processes such as post- 9/11 militarization or religious fundamentalism remains critical aspects of the totalitarian and exploitative practices of the global culture. Different scholars, for instance, Villazana (2013: 218) have examined the transnational processes, for example, radicalization and how the impact on the development of the film. Additionally, the bloated number of transnational networks, corporations, and institutions involved in the co-production and the transnational distribution and exhibition of films have rendered national cinema a less relevant term. Skepticism and theoretical elaboration of national cinema and fine graded academic studies of particular national cinema have flourished considerably. Thus, in examining the relationship between film and themes, it is imperative to shift from production-based trans-nationalism. Religious scholars have an opportunity to explore religion and culture on a transnational level. This helps approaching the problem of transnational level from a unique transnational perspective. Collins (2012) believes that by observing processes in the world in which religion operates in, films plays a diverse and significant role and not as an isolated phenomenon. Back to thesis, the research is attempting to bring out they operative nature of relative theories, by expanding trans-nationalism as a particular category of analysis and inevitable framework where the cinema operates. Reflectively, trans-nationalism keeps being redefined within cultural and cinematic space. As well, the research is attempting to bring out the impact of globalization and identify. Like capitalism, globalization advances can be a contradictory concept. Berg (2012: 11) has explored how globalization and identity has influenced the media. That is, the impact of media and culture and how they affect the electronic landscape by weakening old culture boundaries. Results concern how universalization of particularism is correctly anticipated of the impact of globalization in intensifying the search for and the expression of identities. The study also highlights the importance of the historical boundaries of place, as well as, the desire for the continuities of identity and community through local memory and heritage. On the other hand, theorists such as Noel Caroll have elaborated on Appadurai theoretical model and gone further to suggest that today a new integrated, interconnected of the transnational art world has emerged. Reflectively, in the debates of postcolonialism, post nationalism, third cinema, and consumerism seems to take a center stage. The dimensions of the globalization can be sorted into two main categories, those spatiotemporal and organizational aspects. The spatiotemporal dimensions consist of factors such as the intensity, extensity and velocity of global flows and transnational interactions as well as, their impact on propensity. The organizational aspects include infrastructure that facilitate network relation as well as, building of institutionalized patterns of transnational interaction and the degree of stratification in terms of the hierarchies and unevenness of globalization process and modes of interaction in global relation. Conclusively, the reflection on critical, major standpoints in the national cinema debate has made it clear that the relation between cinema and nation is a complex one. On one hand, globalization might have intensified debates about the end of the nation state that is generated in further discussions. The issue of migration and the concept of ethnoscapes are relevant with regard to the growing interaction between the filmmaker and the audience. Whether or how the work on such filmmakers is related to a national cinema is a matter that deserves scrutiny. Reflectively, the debate on the development of contemporary theories such Americanization and its relation to globalization is considered more relevant to film than any other form of art. From the research, it is clear that Americanization leads to the globalization of transnational cinema. The transnational development and the transformation in recent decades that have destabilized the authority of the nation state have also brought to the foreground further questions concerning the relevance and the applicability of the concept of national cinema in the age of globalization. In other words, transnational films are adding value to national films. In summary, different media events engage audiences beyond the national audience in Britain. Transnational films encourage the development of transitional events where participants from different origins make different meanings of their experiences according to their cultural background and social context. Thus the national and transnational industries are both exclusive. References Ahn, S. (2012). The Pusan International Film Festival, South Korean cinema, and globalization. Hong Kong: Hong Kong University Press, HKU. Berg, L. (2012). Globalization and the Modern Vampire. Film Matters, 8-12. Collins, B. (2012). The Perverts Guide to Ideology. Film. Directed by Sophie Fiennes. Zeitgeist Films, 2012. DVD, $29.99. Religious Studies Review, 147-147. Halle, R. (2006). German film, European film: Transnational production, distribution and reception. Screen, 251-259. Oblivion [Motion picture on DVD]. (2013). Universal Studios Home Entertainment. Schwarz, C. (2014). The Scientists Behind the Movie Scenes. Science as Culture, 108-112. Villazana, L. (2013). Transnational virtual mobility as a reification of deployment of power: Exploring transnational processes in the film Sleep Dealer. Transnational Cinemas, 217-230. Zebracki, M. (2014). The cinema makers: Public life and the exhibition of difference in South-Eastern and Central Europe since the 1960s. Transnational Cinemas, 1-3. Read More