As cultural identity is challenged on global screens due to the influences of transnational cinema and diasporas in different locations, this clip further questions the possibilities of future transnational cinema. Thanks to the emergence of cinematic styles, all films must be considered transnational. This essay will argue that transnational cinema could reach a new level in the film industry. The clip provided with the essay explores the potential of transnational films in the context of the studied films included in this topic. As Ezra and Rowden argue, “the key to transnationalism is the recognition of the decline of national sovereignty as a regulating force in global coexistence.” . The impossibility of attributing a fixed national identity to much of cinema reflects the dissolution of any stable link between the location of production and/or the setting of a film and the nationality of its directors and performers” (Elizabeth Ezra 2006 ). Hollywood films unnecessarily take place in the United States, while Bollywood films do not mean being produced in India, films today can be produced anywhere outside their country of origin. This will lead to a new version of transnational cinema as it is a developing concept that does not have a clear definition for its category. In conjunction with crossover audiences, transnational cinema plays a vital role in global film culture. Srinivas argues that the transnational has shaped the globalized imagination and therefore increases people's desire for a truly transnational experience through travel (Srinivas 2005). Transnational cinema is developing alongside the growing diaspora around the world. Deterritorialization explores film productions outside of their own country and the crossovers often depicted in most films in...... middle of paper ......uh Assayas. 1996. Athique, Adrian M. “‘Crossing’ Audiences: Mediated Multiculturalism and Indian Cinema.” » Continuum: Journal of Media & Cultural Studies, 2008: 299-311. Casablanca. Directed by Michael Curtiz. 1942.Elizabeth Ezra, Terry Rowden. "General introduction: what is transnational cinema?" In Transnational Cinema: The Film Reader, by Terry Rowden Elizabeth Ezra, 1-12. New York: Routledge, 2006. John Hess, Patricia R. Zimmermann. “Transnational documentaries: a menifest”. In Transnational Cinema: The Film Reader, by Terry Rowden Elizabeth Ezra, 95-105. New York: Routledge, 2006. Black Cat White Cat. Directed by Emir Kusturica. 1998. Rush hour. Directed by Brett Ratner. 1998. Srinivas, Lakshmi. “Communicating globalization in Bombay cinema: daily life, imagination and the persistence of the local.” Comparative American Studies 3, 2005: 319-344.