The Crossover: Diasporic and Intercultural Film and Media

With multiculturalism reaching an all time high, it is only fitting that film and media be intercultural.
People leave their home countries for many different reasons; reasons such as war, marriage, work, etc. But when leaving their homelands, these people tend to lose touch with most things relating to their country, such as what is now happening in the news.
News channels such as SBS have made it easier for people to stay connected and up-to-date with their home countries without the stress and worry of having to learn a complete new language. SBS have made this possible by allowing people to choose from seventy four different languages which they would like to listen to the broadcast in.

Intercultural Film
Intercultural film is characterised by experimental styles that attempt to represent the experience of living between two or more cultural regimes of knowledge, or living as a minority in the still majority white, Euro-American West.” – (Laura Marks, 2000)

Intercultural cinema is displayed globally in order to introduce an intercultural connection between the audiences viewing and the cultural characters represented in the film. Intercultural films exposes different people with different backgrounds to a world of knowledge and understanding about different cultures through the use of a popular medium.

Author Laura Marks argues that film “is not the property of any single culture, but mediates in at least two directions. It accounts for the encounter between different cultural organisations of knowledge, which is one of the sources of intercultural cinema’s synthesis of new forms of expression and new kinds of knowledge“.

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What is Nollywood?

‘Nollywood’ is Nigerian cinema.

Nigerian cinema dates back as early as the 19th century in the form of the kinetoscope and has developed over the years. The first Nigerian cinema was the work of Geoffrey Barkas with his 1926 film ‘Palaver‘.
More recent examples of Nigerian film include the 2013 drama film ‘Half of A Yellow Sun‘ by Biyi Bandele, and the 2009 thriller ‘The Figurine‘ by Kunle Afolayan.

In the late 1960’s to 1970’s the world of film expanded in Nigeria, therefore resulting in an increase in Nigerian content in theatres.
The Nigerian film culture and industry experienced two major booms – one in 1973 through to 1978due to the oil boom, and another in the 1990’s after the decline of the Golden Era. With a continuing growth in Nigerian cinema, it quickly became “the second largest film industry in the world in terms of the number of annual film productions” in the 2000’s.

It is argued that the term ‘Nollywood’ is overly used and that there is no clear definition of how Nigerian a film must be in order to fit under the ‘Nollywood’ category. This argument arose after the term was also being used for Nigerian/African diaspora films.

With such growth in the Nigerian film industry, an impressive $590 million is generated annually, therefore placing Nollywood just second to India’s Bollywood; and with such growth continuing, it is expected that up to one million jobs could be created in the near future.







Horse and carriage to Jeep and Alfa Romeo.

Radio to television.

Written letters to typed texts.

To think that we have gone from all being on slightly the same page and having similar ideas, to different countries advancing quicker than others.
Some scholars believe that the origins of globalisation are to be placed in modern times, whilst others place its origin in the time of the European Age of Discovery.

Globalisation is frequently subdivided into 3 areas – economic globalisation, cultural globalisation, and political globalisation.

So what do these 3 areas consist of?
Economic globalisation: “this essentially incorporates the globalisation of production and finance, markets and technology, organizational regimes and institutions, corporations and labour.”

Cultural Globalisation: “this incorporates the transferal of ideas, meanings and values.”

Political Globalisation: “this refers to the growth of the worldwide political system, both in size and complexity.”


The International Monetary Fund (IMF) believe that there are four fundamental aspects of globalisation, this being trade and transactions, capital and investment movements, migration and movement of people, as well as the dissemination of knowledge.

Advances in technology have “generated further interdependence of economic and cultural activities.” Advances such as television, mobile phones and the internet have all assisted in the growth of the economy.
The globalisation of industries has played a large role in advancing the mediums we use today.


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