Seite - 53 - in Medienraum Diaspora - Verortungen zeitgenössischer iranischer Diasporafilme

54 Diaspora/Film im Wandel separate out areas of study“ (51). Sie schlägt daher fünfzehn Analysekategorien vor, die bei einer Eingrenzung des Begriffes helfen sollen:  transnational modes of production, distribution and exhibition  transnational modes of narration  cinema of globalization  films with multiple locations  exilic and diasporic filmmaking  film and cultural exchange  transnational influences  transnational critical approaches  transnational viewing practices  transregional/transcommunity films  transnational stars  transnational directors  the ethics of transnationalism  transnational collaborative networks  national films (52) Deborah Shaw mahnt damit zur Genauigkeit und Spezifizierung im Umgang mit komplexen filmischen Formen: „The above categories alert us to the importance of specificity in any discussion of ,transnational cinema‘“ (Shaw 65). Will Higbee seinerseits schlägt gegenüber dem allzu dehnbaren Begriff transnational cinema das Konzept des cinema of transvergence vor: Instead it [cinema of transvergence] proposes a clear un- derstanding of the discontinuity, difference and imbalances of power that exist between various film-makers, film cul- tures and film industries as well as the elements of inter- connectedness that may bind a film-maker to a given film culture or national identity at a given time. (87)