When it comes to the growth of international co-productions and the development of new distribution platforms, it is tough to say whether or not it is based on globalisation or just an opportunity for filmmakers to share their narrative to a wider audience. There are certainly arguments for a little bit of both I would say, considering the fact that it is hard to see negatives from a filmmakers point of view, getting the most amount of eyeballs on your product as possible. However there is certainly a connection between globalisation and new technologies. Over the past couple of decades, transnationalism in cinema has become more and more prominent, with the economies of countries around the world opening up as new markets for films, to distribute to, film in and work alongside. For example the film Snowpiercer (2013) which is mostly considered a South Korean film, is also in so many ways an example of transnational cinema.

“Yet, for the most part, projects involving Korean filmmakers working in partnership with filmmakers from other countries are the products of individuals and businesses worming outside of official channels. That is, they are often better understood as ‘transnational’ rather than ;national’ or ‘international’ projects.” – Brian Yecies, Ae-Gyung Shim & Ben Goldsmith

This transnational cinema culture has allowed for the merging of ideas, people and markets. For example, with the growing range of cinema distribution and collaboration, many Hollywood films today are filmed overseas for financial savings. While many filmmakers and studios look for new and alternative ways of distributing their work to the most amount of eyeballs for the lowest amount of money. This is where new distribution platforms, such as streaming services like Netflix and Hulu. These platforms allow for the audience to view cinema at their own discretion and all at once if they so choose. This has in many ways over the past decade, changed consumers viewing habits, while also being financially low risk for the film studios.

“The motto at radius is ‘a screen is a screen is a screen.’ We’re screen-agnostic, and as consumer habits change, film audiences today are becoming screen promiscuous. 85 million-plus consumers will have access to ‘Snowpiercer’ on vod. The film will be more widely available than every other film on screen this weekend combined. One way or the other, we’re going to find you somewhere.” – Tom Quinn

I would definitely say that the growth of distribution networks and international co-productions in cinema are a result of globalisation to some extent. With film genres and cultures crossing over, countries are getting more and more of a taste of other nations, their people and their culture. I think the globalisation of it assists filmmakers to inevitably spread their works further and further, to as many eyeballs as possible. I think it will continue to grow as time goes on, and who knows where cinema could end up in the future.

Comments:

1. https://dugongcinema.wordpress.com/2017/10/18/snowpiercer-star-power-and-a-new-way-of-distribution/comment-page-1/#comment-20
2. https://asiancinemamusings.wordpress.com/2017/10/09/international-co-production-asian-horror/comment-page-1/#comment-36