Conclusion

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Transnationality is difficult to define and identify, but it is clear that transnationality resides within the film industry and is becoming an integral element for its survival against the competition. It especially gives Third world, independent and amateur filmmaking talents to be showcased, where as otherwise these talents would be disregarded, this is proven in Harry Potter and the Prisoner of Azkaban where a Mexican director (Cauron) is asked to direct the film for his stylistic traits, flare for the genre and generate a more international appeal for the text. It is also evident that national cinema is slowly dying out and transnationality is taking over, due to the financial security behind transnationality and secure success for potential investors. Transnationality may also be vital to a film texts narrative such as The Bourne Identity where the narrative follows a protagonist across Europe. Transnationality is also important to a films exposure, as multinational distributors are vital for getting the product (film) to its audience and each nation are susceptible to different methods of distribution and advertising.
But was it clear is that transnationality is becoming easier to achieve because of online video and film, and the culture that transnationality is creating around it. With many different ways to access and view films multiplying that for the audience other world cinemas are becoming more accessible to the masses, through mediums such as LoveFilm and iTunes, and in this busy economic environment and cosmopolitan society, easy access is the key to a film’s success. Also achievable effective promotion of a film, generally leads to a film’s success, and online advertising whether this is through the medium of a specific website or sites like IMDB have proven effective, allowing the audience to seek the promotion rather than over saturate them. For example now trailers are embedded on most film related sites and easily accessible for the target audience whereas before the distributors aims to show the trailer before a similar film was screened at the cinema or on television at a specific time. Although the negative side of transnationality is that it has become easier to access film piracy.

With the addition of YouTube and the YouTubist, it has become a global phenomenon and extremely influential and a powerful marketing tool and a huge input into transnationality. YouTube also support the independent global filmmakers by running regular competitions to gain exposure, and encourage transnationality. YouTube has even created their own celebrities such as ‘Where the hell is Matt?’ and Susan Boyle, who had minor national fame on the television, to global stardom via the internet. This proves the power of YouTube and the amount of people that access it every day are in their volumes and most definitely aids if not the backbone of transnational culture.