By Sukhmani Khorana
Cinematic items within the twenty-first century more and more emerge from, interact with, and are ate up in cross-cultural settings. whereas there were a couple of phrases used to explain cinematic varieties that don't endure allegiance to a unmarried country when it comes to conceptualization, content material, finance and/or viewership, this quantity contends that "crossover cinema" is the main apt modern description for these points of latest cinema on which it focuses. This rivalry is provoked through an appreciation of the cross-cultural fact of our post-globalization twenty-first century international.
This quantity either outlines the heritage of utilization of the time period and grounds it theoretically in ways in which emphasize the personal/poetic as well as the political. all the 3 sections of the amount then considers crossover movie from one among 3 views: construction, the texts themselves, and distribution and intake.
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Extra resources for Crossover Cinema: Cross-Cultural Film from Production to Reception
I don’t write a film and say it’s for women, or colored women, or Punjabi women. You can’t, because then you stop writing for yourself, which is the only reason that you write. SK: I was talking to David Hamilton [the producer of the trilogy], and he said to me that Water, in some ways, could be considered a crossover film because many people who may not otherwise watch an art film did actually watch Water. So what do you think makes a film more accessible even though it may be in the art category?
Custen The present chapter argues that a salient iteration of crossover cinema can be traced in recent filmmaking trends emerging out of Latin America and the Caribbean in the current era of the region’s “pink tide,” or its election of various left-of-center populist governments. This hemispheric move to the left—consisting not only of heads of state but also society actors—is associated principally with the petroleum-rich Venezuela, which in many respects jumpstarted the leftward trend by choosing the socialist-democratic Hugo Chávez administration (1998–).
DM: That was pretty amazing. What it did was, I think Water changed the way Canadians looked at their own films. SK: Fire is in English, and that wasn’t allowed. Maps and Movies 35 DM: It depends on the bureaucracy and who is in government. SK: If you had to tell me something about filmmaking, or how to make a good film, what advice would you give? DM: I think it’s important to do it only if you are passionate about it and if you know why you are passionate about it. It’s tough at all times, whether you are a man or a woman.