With the rapid advancement of new technologies global markets and borders are becoming blurred. Cultural borders that previously separated predominately western and eastern cinema in production and distribution are becoming crossed over. A more ‘crossover cinema’ is being created through different nations adopting other cultures, art forms and styles of cinematic productions. ‘Crossover cinema’ is a word created to define the emerging forms of cinema that crosses cultural borders which therefore creates a hybrid cinematic experience’ (Khorana, 2014).
With this crossover eastern cinema is becoming more popular and there is therefore room for exploitation by western companies who are producing eastern made movie for western audiences. These movies often portray stereotypical cultural landmarks or views. “The concept of national cinema is often used prescriptively rather than descriptively, citing what ought to be the national cinema, rather than describing the actual cinematic experience of popular audiences” (Higbee & Lim, 2010)
The growing medium of crossover has sparked debate which argues that too much foreign influence will change the national culture. Audiences are now branching out from traditional cinema which is paving the way for eastern films produced by Bollywood and Nollywood. The rising popularity among western audiences is due to the large scale output, smaller budgets, quicker release times and exotic storylines.
The introduction of eastern cinema into a western market has the potential to take the cinematic experience to a whole new level but the crossover cinema must not be exploited by western companies looking to market eastern influenced movies. The exotic cinematic experience that Nollywood and Bollywood provide is generating a growing amount of western fans who hope the market stays true to the nationally produced films and avoids hybrid copies.
Khorana, S., 2014, ‘Crossover Cinema: A Genealogical and Conceptual Overview’
Higbee, W and Lim, S. H. (2010) ‘Concepts of transnational cinema: Towards a critical transnationalism in film studies’. Transnational Cinemas, 1(1), pp. 7-21.