There is nothing better than watching a good film. I’ve watched my fair share of movies in my lifetime, one thing I am starting to notice is the amount of movies now having different aspects of cultures. The movie ‘Eat, Pray, Love’ shows various countries, it shows the stereotypical idea of what Rome is (food and sex), India (crowded and all about meditation) and lastly Bali (all about the relaxation).
Transnational films demonstrate a shift in global film culture. With globalisation and the constant changing of what is available to us these days, Asian film industries such as China and India will have an influence over the Western society.
Geopolitical, economic and cultural influences are allowing Chinese filmmakers to challenge Hollywood in parts of Asia. We are seeing more of the concept of hybridisation throughout the film industries. Examples of this can be seen in the film Avatar (America’s top grossing film). Rakeysh Omprakash Mehra pointed out various examples in the film demonstrating relations to the Indian mythology. Some of these aspects included; how the colour of the Na’vi characters in the film were blue this can be related back to Hindu as the traditional colour of the religious avatars Rama and Krishna are blue.
The idea of other cultures being depicted in Western films “illustrate growing incorporation of ‘Bollywoodisms’ and Indian/Hindu references into mainstream North American media”.
But are we confusing the definition of transnational films? Slumdog millionaire is an example of this, when the movie was first released it was labeled as a ‘Bollywood’ film however it was co-produced by UK’s Film4 and Celador. The “mislabeling helped American audiences mistakenly associate ‘Indian cinema’ with the film’s westernised production”.
Transnational films are allowing the growth of other media capitals. We are now blurring the lines between Hollywood and Asian film industries.
Schaefer, D, J, and Karan, K, (2010). “Problematizing Chindia: Hybridity and Bollywoodization of popular Indian cinema in global film flows”, accessed through reader