TOWARDS A REVISED THEORY OF TRANSNATIONAL CINEMA THOROUGH CONTEMPORARY FILMS FROM HONG KONG AND TAIWAN

Abstract

Over the last three decades, globalization and technological advancement has allowed for an unparalleled ease of connectivity and collaboration, resulting in an increasing number and intensity of cross-border cinematic activities. Theorists of transnational cinema have attempted to illustrate this change in the global cultural landscape, with many turning to frameworks of film production, distribution and circulation of commodities and industry professionals to underpin studies of transnational cinema. However, such theories of transnational cinema run the risk of becoming obsolete in that they no longer advance the discussion of what has already become commonplace. The occasion for a revised theory of transnational cinema also lies in the growing trend of nationalism and cultural imperialism in and surrounding trans-border film productions. Looking at films from Hong Kong and Taiwan, this paper lays out a theory of transnational cinema as cinema which demonstrates an active disruption of representation of national identities in film and an intentional destabilization of categories of national cinema.