As cultural identity is questioned on the global screen due to the influences of transnational cinema and diasporas in different locations, this clip further questions the possibilities of future transnational cinema. Through the emergence of cinematic styles, all films must be considered transnational. This essay will argue that transnational cinema could emerge at 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 assigning a fixed national identity to much of cinema reflects the dissolution of any stable connection between the place of production and/or setting of a film and the nationality of its makers and performers” (Elizabeth Ezra 2006). Hollywood films are needlessly set in the US while Bollywood films do not mean to be produced in India, films nowadays can be produced anywhere outside their homeland. 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. Along with crossover audiences, transnational cinema plays a vital role in global screen culture. Srinivas argues that the transnational has shaped the globalized imagination and therefore increases people's desire for the actual experience of the transnational through travel (Srinivas 2005). Transnational cinema is expanding alongside the growing diaspora around the world. Deterritorialization explores film productions outside one's country and the crossovers often depicted in most films in... middle of paper... er Assayas. 1996.Athique, Adrian M. "The 'Crossover' Audience: Mediated Multiculturalism and Indian Film." 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 Menifesto.” 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: Everyday Life, Imagination, and the Persistence of the Local.” Comparative American Studies 3, 2005: 319-344.