World cinema addresses themes that are generally not explored or known to traditional western and Hollywood film makers. In this way, world cinema offers interesting perspectives on the issues of diverse communities across the globe.
World cinema needs to be distinguished from terms such as second and third cinema which describe films produced on alternative or post-colonial themes (Fraunhar, 2005). World cinema does not profess such ambitions and strives for creating diversity and a distinct identity in global cinema.
The popularity of world cinema has increased with the success of international world film festivals such as those hosted at Cannes, Berlin, Venice and other destinations. This popularity has led to international co-productions in world cinema where production teams from two or more countries collaborate on producing a film addressing issues that connect the different cultures. McFadyen, Hoskins & Finn (1998) have identified several important advantages and disadvantages of such international co-production. This paper analyzes these advantages and disadvantages in the light of critical research using specific examples of world cinema.
One of the significant advantages of international co-production in world cinema is gaining access to a common financial resource for the countries involved in the co-production. When analyzed from a critical perspective, this is an important advantage and may even be beneficial to promoting the development and growth of world cinema. Often times, cinema from non-English speaking countries may be deprived of a global or international audience because of limited financial resources at the disposal of the film producers. This is also disadvantageous to the global film industry because it is deprived of unique alternative narratives and storytelling techniques. Therefore, international co-production makes financial resources accessible to production companies operating in smaller local film