Describe these aspects. Do they affect the aesthetic dimension of the film, and if so, how? Is Yomota correct that the presence of such elements make it hard or impossible to maintain nationally defined categories? Alternatively, could the very quality of transnationality be what what makes a commercial Hollywood film, most “American”?
As Yomota noted in his introduction, filmmaking today is a multinational enterprise. Not only do actors, directors, screenwriters, and other studio personnel often hail from many different countries, but the studios themselves increasingly produce with a global audience in mind. Films are often set in multiple countries, even when the topic of the film does […]