Why Slumdog Millionaire is a crossover classic

In late 2008 Danny Boyle’s film Slumdog Millionaire was released. A film which grossed over 377 million worldwide and winning 8 Oscars. But most importantly it became a cross cultural cinema hit and laid a foundation to show how a story can appeal to so many cultures.

Crossover cinema can be defined as an emerging form of cinema that crosses cultural borders at the stage of conceptualisation and production and hence manifests a hybrid cinematic grammar at the textual level, as well as crossing over in terms of distribution and reception. (Khorana 2014)

This means that production companies can collaborate with other production companies to distribute a film that is inspired by a broad range of aspects of different cultures in order to find a large audience. Before cross over cinema, global film was defined by the terms transnational and world cinema.

Transnational cinema: is the broad range of theories that relate to the effects of globalisation upon economic and cultural aspects of movies.
World cinema: refers to when countries that have an English speaking background are themselves referring to films from non English speaking backgrounds.

But if we look at it from both English and non English speaking backgrounds it just means all films across the world.
Cross over cinema is different as it does not rely being representative of all cultures.

Slumdog Millionaire is the major success story to come out of cross over cinema. Production Company Warner Brothers combined with flim4 and cleador films to produce and distribute the film.
Slumdog Millionaire is praised not just because of succeeding in the cross over phenomenon. It achieved the creation of an significant platform for cross cultural content and talent that successfully cross over to a mainstream audience. Roger Ebert is one of the world’s greatest ever film reviewers. He gave the film a perfect score. In his review he stated:

The films universal appeal will present the real India to millions of moviegoers for the first time”. This means that through films like Slumdog Millionaire and other cross over films can benefit from audience member s identifying with global issues and concerns that are displayed.


Lim, D. 2009, what exactly is slumdog millionaire, published 26Th January 2009, viewed August 28th 2012 http://www.slate.com/articles/arts/the_oscars/2009/01/what_exactly_is_slumdog_millionaire.html
Khorana, S. 2013, “Crossover cinema: a conceptual and genealogical overview” in Research Online,


Why building a local film industry, Can help a Developing country

Nollywood has been a major benefit for the country of Nigeria. This film industry is a solution to decrease unemployment, improve overall quality of life and increase jobs. Nigerian films are hugely popular in Africa as this industry is proving to be one of the most prolific film industries in the world. It has been making 250 million dollars per year since 2000 and employed thousands of citizens. The average budget is 15000 as production only lasts for 10 days. A total of 500 to 1000 films are released on average per year. With statistics like this it shows this country is working with the available technology and distributing films that are about their culture.

Films in Nigeria are film on cheap digital cameras and are burnt onto cheap CD’s and and DVD’s and are sold for the equivalent of 1 to 2 US dollars. The films have plots that are exaggerated and contain quite melodramatic acting.

More third world countries need to model what Nigeria has done to its country. By building some sort of film industry it can try and reduce widespread poverty, unemployment and crime. Citizens can be employed to obtained skills in certain aspects of film making like acting, camera operation, directing, editing, music composition and writing. There is no denying that there is still economical and social struggle in Nigerian society but they work within their limitations. They can create films that are about their culture which can be exposed for the rest of the world to view them.

Okome, O (2007). ‘Nollywood: spectatorship, audience and the sites of consumption’ Postcolonial text 3.2.