ABSTRACT
This chapter explains the question of how cross-border “looking relations”, inform the transnational. Perspectives on the transnational are inevitably impacted, although not in a static or mechanical way, by spectatorial experiences, identities, identifications, and affiliations. Transnational analysis has much to learn from Kimberle Crenshaw’s mentioned concept of intersectionality—or one might say “transsectionality”—i.e. the ways in which the various axes of social stratification—class, gender, race, sexuality and so forth are interconnected and mutually impacting. Liberation movements are often both transnational and transsectional. Some feminist film scholars have linked the Deleuze-Guattari concept of the “minor” to the transnational in productive ways. One dimension of film that is almost inescapably transnational is aesthetics. The cinema was born transnational both in production and in aesthetics. Transnational reception can operate in less progressive ways, for example through ethnocentric misrecognition and “misprisons,” as when Western spectators might “westernize” their apprehension of anime, delinking it from “Japaneseness.”
