This book presents cosmopolitanism as a useful methodological approach to understand the transnational synergies present in contemporary cinema.

In line with existing literature from the social sciences, the volume aims to contribute to the 'cosmopolitan turn' in cinema studies. It considers cosmopolitanism as, among others, a personal and social aspiration of social justice, world citizenship and celebration of difference; a notion to be criticised as elitist, Western, often imperialist, and homogenising; and an actually existing social practice characterised by contradiction, messiness and conflict. The chapters in this volume offer insights into the variety of sometimes contradictory discourses that arise from a cosmopolitan interpretation of a wide variety of film texts. Key topics explored in this book include borders, (im)mobilities, migration, race, class and film aesthetics.

This book will be particularly useful to film studies scholars and students looking at transnational, global, world and decolonial cinemas and focusing on topics like borders, migration and multiculturalism in film. This book will also appeal to academic communities studying media, literature, mobilities, geopolitics, sociology and the social sciences in general.