Терминът национално кино като методологически проблем
The Term National Cinema as a Methodological Problem

Summary/Abstract: This paper focuses on the transformations in the apparatus of cinema studies, caused by the impact of globalization on cinema as an art form. Based on the historically determined dynamics between the global and the cinematic, the study aims to prove that cinema, from its very beginning, has been a target and, at the same time, an instrument of globalization. On the other hand, for various social and political reasons, since the start of its sound period in the early 1930s, the cinematic medium has been subjected to exclusively nationalistic interpretations for decades. The contemporary practice of transnational productions indisputably questions this methodology. The fact that film industries all over the world include two streams - a branch of national film making and a division of productions with different degree of international contribution - complicates the relationship between the cinema and the place , and forces a new approach towards contemporary screen arts on every level - from the analysis of the single work to the research on the global film industries. The term transnational cinema, proposed by Elizabeth Ezra and Terry Rowden, could provide the basis of an adequate approach towards cinema's new existence in a virtual world without borders. Several well known films - Lars von Trier's Zentropa; M. Night Shyamalan's The Sixth Sense and Signs; Ang Lee's Crouching Tiger, Hidden Dragon; Danny Boyle's Slumdog Millionaire, and Fatih Akin's The Edge of Heaven - illustrate the application of the term transnational cinema towards current film practices and its advantage to the explanations of contemporary cinema in terms of the local and the national.

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