Transnational Media Industries: Strengthens Link between National Cinema and National Identity

Transnational media industries
National cinema is a form of art and entertainment and it signifies national identity. However, national cinema should be replaced with transnational cinema to help strengthen the link between national cinema and national identity. National cinema refers to films that are produced in a particular nation. National film industries should be protected due to their function in that they enable the viewer to imagine him/herself as part of the national community and its culture. Sources states that national cinema should be used as a brand name to protect the international market. However, there are various characteristics of national cinema and they vary. They include production mode, style of the film, structure of narration and theme and also the genre (Choi, 2006, p.311).
Transnationalism concept helps us understand the changes in the contemporary world which is being imagined by many filmmakers across the globe. Moreover, nationalism has played a major role in evolution and legitimating of film studies and citizens have used films to establish cultural narratives (Ezra & Rowden, 2006, p.5). In addition, transnationalism is influenced by various factors, for instance, permeability of national boundaries and the physical and practical mobility of the individuals who cross them. Digital distribution is seen as a catalyst for transnational cinema (Hjort, 2003, p.35).
On the other hand, cinema globalization should not be taken as a threat to Nordic national cinemas. One method the function of transnational interconnection is perceived to have motivated Nordic cinemas is through provision of opportunity to the filmmakers to influence audiences and colleagues out of the region. Nordic filmmakers, when looking for marketable cinema, have looked out of their sphere for inspiration and talent and this has made some directors to cross over. In conclusion, the changes that are associated with globalization and transnationalism make national cinema seem problematic (Elkington & Nestingen, 2005, p.15). References
Choi, J. 2006. National cinema, the very idea, philosophy of film and motion pictures: an anthology, Malden MA: Blackwell publishers, pp.310-319.
Ezra, E., & Rowden, T. 2006. General introduction: what is transnational cinema, transnational cinema: the film reader. London: Routledge, pp.1-12.
Hjort, M. 2003. Dogma 95: a small nation’s response to globalization, purity & provocation. London: British film institute, pp. 31-47.
Elkington, T., & Nestingen, A. 2005. Introduction: transnational Nordic cinema, transnational cinema in a global north: Nordic cinema in transition, Detroit: Wayne state university, pp. 1-28.

References: Choi, J. 2006. National cinema, the very idea, philosophy of film and motion pictures: an anthology, Malden MA: Blackwell publishers, pp.310-319. Ezra, E., & Rowden, T. 2006. General introduction: what is transnational cinema, transnational cinema: the film reader. London: Routledge, pp.1-12. Hjort, M. 2003. Dogma 95: a small nation’s response to globalization, purity & provocation. London: British film institute, pp. 31-47. Elkington, T., & Nestingen, A. 2005. Introduction: transnational Nordic cinema, transnational cinema in a global north: Nordic cinema in transition, Detroit: Wayne state university, pp. 1-28.