Abstract
The guiding premise of this book is that careful analysis of a range of small national cinemas can suggest a number of conceptual models for understanding the persistence of the nation in various transnational constellations. A dozen case studies have been selected to provide a broad geographical spread including Iceland, Denmark, Scotland, Ireland, Bulgaria, Hong Kong, Taiwan, Singapore, New Zealand, Cuba, Tunisia and Burkina Faso. These have been selected in relation to four major definitions – population size, geographical scale, GNP and relationship to a dominant or ruling nation. In film studies the national remains a significant term, albeit one that requires a paradigm shift in terms of how it is now located in relation to concepts of the transnational, the global and the regional. The political scientist Peter Katzenstein provides a helpful differentiation between processes of globalisation and internationalisation, where the latter emphasises the maintenance of nation states and cross border exchanges, as opposed to the sense of transformation and convergence signified by the former which in turn suggests a very productive conceptual frame for thinking about small nations. The contradictory pressures to engage simultaneously in processes of globalisation and national building in turn informs the operations of small national cinemas where participation in the global market place frequently co-exists with the promotion and nurturing of local film-makers and industries and the facilitation of cultural expression.
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