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This variance in audience address makes it necessary to move away from some of the usual categories for considering national cinema, and to approach it via an alternative framework, which I do by devel oping a discussion of multination and transnationalism, and by analysing Kaurismaki's cinema through the prism of Mette Hjort's theory of small-nation cinemas and Valek's discussion of film festivals.
beyond Finnish borders, which brings us to the discussion of transnationalism.
In a thoughtful criticism of the term's use in cinema studies, Mette Hjort observes that transnationalism is often taken as self-evident.
It also enjoys a positive semantic charge, as transnationalism entails the 'welcome demise of the ideologically suspect nation-states and the cinematic arrangements to which they gave rise' (2010: 14).
My notion of transnationalism draws on Rosen, for I see it as tending towards the construction and maintenance of non-national coherences and tending towards
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