Abstract

The notion of National Cinema has been under fierce attack. It was once a dominant paradigm during the heyday of the nation-state but now is a marker of obsolescence. In this essay I first critique those who forsake the concept of National Cinema by examining the following questions: Is National Cinema a conceptual and institutional by-product of Hollywood domination? How is National Cinema correlated with cultural identity and uniqueness? Should National Cinema be supplanted by a fashionable neologism, transnational cinema? I argue that National Cinema has lasting significance as a concept and needs to be retooled as an analytic paradigm for cultural self-making/becoming, which involves institutional, economic, and discursive negotiations/struggles to determine what has to be done to afford cinematic cultures critical to socio-cultural life in a national society.

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Additional Information

ISSN
2158-1665
Print ISSN
0731-1613
Pages
pp. 173-191
Launched on MUSE
2011-12-03
Open Access
No
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