Khorana (2013) describes ‘crossover cinema’ as an emerging form of cinema that crosses cultural borders at the stage of conceptualization and production and manifests a form of hybridisation and also crosses cultural borders in terms of its distribution and reception. She iterates the importance of distinguishing between crossover cinema and transnational cinema.
Crossover cinema is cross-culturally conceived but not yet not relegated by mainstream public culture. Unlike transnational cinema, there is no argument to be made about the inclusion of crossover cinema in mainstream cinema culture. “It must be emphasized that unlike the South Asian or Hong Kong use of the term, crossover cinema in does not derive its primary point of difference from other kinds of cinemas through its crossover in audience terms alone. Instead, it is the site of cross-cultural conceptualization and production that is taken as the principal foundation and that then leads to textual hybridity and wide-ranging audience appeal.” (Khorana 2013)
- Khorana, S (2013) ‘Crossover Cinema: A Conceptual and Genealogical Overview’ Crossover Cinema: Cross-cultural Film from Production to Reception, New York: Routledge, pp 3-13.