I find inspiration from Lingzhen Wang's writing on feminist transnational theory in Chinese Women's Cinema: Transnational Contexts, including the following observation:
"In film studies, the concept of transnational cinema has emerged in response to increasing economic and media globalization and the acceleration of technological development. As a relatively new conceptual category, transnational cinema is mobilized to address the significance of transnational financing, production, distribution, and reception of films, to express the need to go beyond the limitations of national cinema, to draw attention to films made by film-makers living in cosmopolitan centers or in the diaspora, and to denote a transnational and hybrid cinematic aesthetics and emotional identification. Some scholars of transnational media have projected an apolitical and utopian vision of transnationalism by arguing that it unfolds as an essentially self-motivated, and apparently amoral, cultural force and that the real world is no longer defined by its colonial past (or its neocolonial present), but by its technological future, in which people will gain greater access to the means of global representation. Transnational feminism, on the other hand, argues the opposite by directing our attention to dis-proportioned movements across borders, and by exposing the underbelly of the "the global village": racism, illegal border crossing, forced economic migration, political exile, and xenophobia."