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In this collection, the term crossover cinema is used to encapsulate an emerging form of cinema that crosses cultural borders at the stage of conceptualization and production and hence manifests a hybrid cinematic grammar at the textual level, as well as crossing over in terms of its distribution and reception. It argues for the importance of distinguishing between crossover cinema and transnational cinema. While the latter label has been important in enabling the recognition and consideration of the impact of post–World War II migration and globalization on film practice and scholarship, and while it constituted a significant advance on the term with which is so often conflated, world cinema, this chapter argues for a repositioning of the former term as more definitive of the contemporary cultural epoch. The extension of scope in this manner more accurately reflects the highly contingent ways in which global flows in both production and consumption have shaped cinema—not only in the locations of so-called Third Cinema but also in the West. Such a repositioning enables us to think of cross-culturally conceptualized cinema as lying beyond the exclusive art house category that often restricts (a) its reading by film scholars and critics; (b) its publicity discourses and availability in mainstream cinemas; and (c) its reception by various audience communities. There is also an appropriate political objective in the adoption of the term crossover to describe cross-culturally conceptualized cinema. This is because with an extended scope, it joins forces with the broader project of internationalizing cultural studies, that is, to keep the competing forces of cultural indigenization and capitalist internationalization from becoming synonymous with globalization (see Abbas and Erni 2005).