The Motorcycle Diaries as an Example of Transnational Cinema - Essay Sample

Transnational Cinema is a term that has been exemplified in the modern cinema and it is a developing concept in film studies that entails some theories and aspects of globalizations on the cultural as well as economic elements of the movies. Today, cinemas development are determined through the technological aspect incorporated in the film work. Moreover, globalization, as well as commoditization of labor, knowledge and many others, help determine the film development. The purpose of this essay is to illustrate how Diarios de Motocicleta is transitional in at least two ways. It does this by analyzing one clip from the film as well as on another level of production.

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The Motorcycle Diaries film can be regarded as a transitional film. The Motorcycle Diaries can be categorized as a transnational film because it conclusively proves that suffering, pain and misfortune transcend the limits of race and ethnicity. It presents Guevara at crossroads in various aspects.

The Motorcycle Diaries, a which is a biographical video (additionally known by the first Spanish title Diarios de Motocicleta) that depicts Ernesto Guevara's and his partner Alberto Granado's trip through South America. From one perspective, the movie can't be viewed as a tenable historical source, despite the fact that the film is developed on the basis of the true life of the main character Ernesto Guevara's encounters and a book of the diary. Then again, the film gives an understanding into what the life in South America in the mid-1950s looked like. Furthermore, the film reveals the insight into how Ernesto Guevara turned into a more radicalized man.

The two, Alberto and Ernesto go on a journey of traversing the continent of South America. This was fundamental to go and work in Peru. They come to realize how beautiful South America is from many aspects. They get to see indigenous people. In their journey, they meet individuals who are out-crying for justice. They meet people who have lost their worldly possessions to robbers. These are revealed conspicuously within the film.

Ernesto is portrayed as an emotional and humble man who is moved so much by how people suffer. His heart has a soft spot for peoples suffering, and he feels like engaging in trying to help sort them out. When they get to Leper Colony, they first go to a work on a voluntary basis where they get to learn fundamental life aspect like unity among people as a significant element in enhancing the welfare of individuals (Salles).

This element is also seen in Ernestos speech that he delivered during his birthday party. He gets to explain to people how important unity can work in solving real life threats, risks, and challenges.

This film has presented a transitional aspect in the aspect that it fosters on the matter that is considered to be global issues. The film exemplifies the uniqueness, equality as well as cultural identity. The films seek to solve these pressing needs and elaborates further how important unity can be of great importance regardless of the background, as well as without the regard of ethnicity (Salles). The film illustrates the challenges that the people in the South America continent in the middle of the twentieth century.

Another instance of the film being transitional is the fact that it was released in the early 2004 and this was made possible by various artists from many walks of lives. The work can be attributed to the production companies from Chile, Argentina, Peru, the United States, Germany, France and many others. This is transitional since it exemplifies the element of unity regardless of background to come together and work on a successful movie. It involves many people from various cultural backgrounds thus making it transitional.

Summarily this essay has exemplified the two ways in which Diarios de Motocicleta is transitional. The review has given a general outlook of the film and also illustrated an instance in the film that makes it transitional. Therefore, Diarios de Motocicleta is a good example of transnational cinema.

Works Cited

Salles, Walter, director. The Motorcycle Diaries. FilmFour, 2004.