To browse Academia. The standard analytical category of "national cinema" has increasingly been called into question by the category of the "transnational. The three sections of World Cinemas, Transnational Perspectives cover the geopolitical imaginary, transnational cinematic institutions, and the uneven flow of words and images. Integral to the expansion of capitalism since the nineteenth century, the cultural communications complex which used to be analyzed as cultural imperialism has now evolved into the object of study of theories in globalization Miller, et al.
One of the Third World's legitimate and powerful reactions against that earlier cultural imperialism took the form of ideological denunciations of its content-based products. Along with such a political analysis went a search for pure alternative positions which, at the artistic level, were often conflated with the avant-garde forms of the left intelligentsia. In today's epochal climate, I will argue, films such as the ones I explore here, have developed a more complex reaction to better suit the needs of differently acculturated audiences.
Pace Audre Lorde ''The master's tools will never dismantle the master's house'' the films I will focus on here use some of the formal tools of dominant Hollywood productions and combine them with more vernacular, regional forms and experiences in an effort to produce a critique of the impact of neoliberalism on the national societies of Latin America in times of globalization.
Reworking and re-appropriating some of the ''master's tools'' these films marry the so-called MTV style with classical political allegory and melodrama, thus heralding, perhaps, the emergence of a new type of cinematographic legibility-what I will call here a powerful. This chapter aims to present an overview of the history of the transnational in film studies, and consider the ways in which the discipline has responded to developments in the social sciences following a transnational momentum in film studies from , with the following years seeing a number of conceptual and theoretical essays and edited volumes and the founding of a journal, Transnational Cinemas in It outlines the key areas of focus in the first phase of transnational cinema studies: migration and cinema and exilic and diasporic filmmaking; transnationalising readings of national and regional cinema; historical readings of transnational cinema; and film festival studies.
Following this, the chapter discusses approaches to transnational film theory through an analysis of a selection of definitional essays on the subject. The final section of the chapter presents an overview of the second phase of transnational film studies, and considers the expanded reach of the transnational to the many fields that make up the discipline.
