ABSTRACT
This chapter discusses asserting the specificity of their directors' enunciative positions with a mode of address embedded within a global discourse on women's experiences, these anthologies serve as particularly productive examples of transnational women's cinema. Transnational cinema studies address numerous manifestations of this new reality: some examine the transnational flows that define the interactions between cinematic output and the consumption patterns of the diaspora; others study the mobility of filmmakers and their transnational mode of work; still others explore the new dimensions of global cinephilia. Critical transnationalism helps us account for the so-called "borderless" and highly mobile state of cinema, while also unraveling its underlying paradox. The processes of globalization and advances in digital technology have erased traditional cinematic borders and increased the mobility of cinema. Both Chinese and Indian diasporic cinema, despite the fact that they are discussed under the umbrella of national identity, they complicate the notion of diaspora by both gendering it and queering it.
