Is there such a thing as world cinema, or is the concept a naïve or imperialist one? What is the relationship between "world cinema" and national cinemas? What is "national" about national cinemas? This course introduces students to theoretical debates about the categorization and global circulation of films, film style, authorship, and audiences through case studies drawn from Iranian, Indian, East Asian (Korea, Taiwan), Latin American, European, and U.S. independent cinemas. Special attention to how film festivals, journalism, and cinephile culture confer value.