The first thing is “Diasporic Media”- an important part which can play the role of helping socialize migrant communities in to their new environments and familiarizing them, in a less intimidating way, with the host country. Moreover, they have the potential power which advance and improve the confident of individual citizens and communities, so that it can strengthen to reach and take part in produce media.
“Crossover Cinema,” or the cinema of transnational Indian origin (either in English, or bi/multilingual with English as the major linguistic component), has come to represent in the urban Indian imagination, both within the nation and in its vastly expanded diaspora- represented by the students in SOAS (School of Oriental and African Studies, University of London), …
It can be said that crossover cinema can connect history and politics of presentation, also nuanced depiction of changing global realities and claim to a sensitive. It is concerned to international cultural, people from different country has different reaction. However, film and media have one message that want to be in touch with people.
“However differentiated, diasporic films share with other types of “accented” films similar concerns, characteristics, and production practices. (Michael T., 2007)
The Crossover Cinema, therefore, remains a significant beneficiary of the global multiplex culture, which is now an established phenomenon in India as well.
Regarding to “Fatih Akin’s In July (2000)”, I though the attracted point is that they can make the audience to identify with the main character and the film script.
Angshukanta, C 2013, ‘Crossover Cinema:New breed of cinema in English is redefining filmmaking in India’, Littleindia, 15 February, http://www.littleindia.com/arts-entertainment/14447-crossover-cinema.html
Michael T. Martin and Marilyn Yaquinto, Black Camera,vol. 22, No. 1 (Spring/Summer, 2007), pp. 22-24, https://www.jstor.org/stable/27761689?seq=1#page_scan_tab_contents