National/Transnational Cinema: Describe, Using Examples from Cidade de Deus (City of God), the Characteristics of Transnational Cinema and Detail How It Differs from National Cinema.
Before the film even starts it is made abundantly clear that City of God is a transnational film via the use of its opening credit sequence. Not only are there are a multitude of production companies and distributors attached to the film, but probably more pertinent is the fact that the first to be highlighted is that of Miramax Films – a ‘North’ American founded company. This association with ‘North’ America early on is an obvious allusion to the fact that the film is transnational. However for the viewer to be sure of this the other production companies, BR Representa and Lei Do Audiovisual – both Brazilian, follow Miramax Films in this opening credit sequence. This type of opening is synonymous with transnational cinema as it lets the viewer know exactly what to expect without the film even starting yet. It is through this that the audience know how to watch the film and critically engage it. Brazilians watching are made aware that the intent of the film-makers is to appeal to other nations as well as their own.
The construction of the opening of a national film differs only slightly from that of transnational cinema in that any and all production companies shown in the opening will only be from that nation. A fine example of this minimal difference is in the opening to the American film, Robocop where both Metro Goldwyn Mayer and Orion Pictures marquee. Prior to fade in the audience is made conscious of the fact that this film may only deal with moral and political issues with particular regard to America. The function of this is to ensure that any decisive engagement from anyone is carefully considered, especially by those who do not live in America. The film is regarded as one of the finest American political satires in history but without this early sign that the film and its issues strictly represent American culture this satire may not have been picked up on.
Upon fade in of City of God our senses are bombarded by flashy imagery and the intense jump
The construction of the opening of a national film differs only slightly from that of transnational cinema in that any and all production companies shown in the opening will only be from that nation. A fine example of this minimal difference is in the opening to the American film, Robocop where both Metro Goldwyn Mayer and Orion Pictures marquee. Prior to fade in the audience is made conscious of the fact that this film may only deal with moral and political issues with particular regard to America. The function of this is to ensure that any decisive engagement from anyone is carefully considered, especially by those who do not live in America. The film is regarded as one of the finest American political satires in history but without this early sign that the film and its issues strictly represent American culture this satire may not have been picked up on.
Upon fade in of City of God our senses are bombarded by flashy imagery and the intense jump
Bibliography: Crofts, Stephen, “Concepts of National Cinema”, in Hill and Church Gibson, The Oxford Guide to Film Studies, pp.385-94 Hjort, Mette and Scott McKenzie eds. Cinema and Nation. London: Routledge, 2000.