Due to an increase in globalisation, it’s obvious that there will be an increase in crossover cinema. Khorana (2013) describes crossover cinema as:
“An emerging form of cinema that crosses cultural borders from conceptualisation and production and hence manifests a hybrid cinematic grammar at the textual level, as well as crossing over in terms of its distribution and reception.”
In order for a movie to be considered ‘crossover’, it has to cross cultural borders from the point of conception. Thus the influences, production and aesthetics can be seen as a cross between the two cultures, resulting in the movie being accessible to both cultures involved. In other words, crossover cinema is creating movies that are combining cinematic styles from different cultures.
An obvious key aspect of crossover films is that the cast and crew must be inclusive of both cultures involved. One example of this could be Gurinder Chadha’s movie ‘Bride and Prejudice’. The movie features actors from the different cultures explored in the movie. Chadha, and ‘Monsoon Wedding’ director Mira Nair have “acted as a bridge between Western and Indian popular cinema” according to Kavoori and Punathambekar (2008, p. 10). Although Chadha claims that ‘Bride and Prejudice’ is a “complete Hindi movie” (Mathur, 2007).
However, despite the increase in crossover films in recent years they have yet to break into the more ‘traditional’ Hollywood territory. Combining this with the lack of true representation of diasporic communities in mainstream cinema, has lead to huge Hollywood events like the Oscars becoming ‘white-washed’. This year the hashtag #OscarsSoWhite was trending due to the lack of diversity in the nominees line-up. Director J. J. Abrams said that “the Oscars controversy was a wake-up call” which is a step in the right direction, however the upcoming movie ‘Ghost in the Shell’ looks to be a prime example of white-washing in traditional media. The movie is based on the Japanese manga of the same name, however Scarlett Johansson is set to play the lead role in the live-action movie in 2017. So it seems that even though controversies like the Oscars are stirring up action, it can’t come soon enough.
Mathur, S, 2007, ‘From British “pride” to Indian “bride”: Mapping the contours of a globalised (post?) colonialism’,