The process of borrowing conventions or practices from another culture with a different ideology, and positioning them within one’s own culture, where their meanings are inevitably transformed. From this perspective, the initial borrowing is not merely imitation or colonization, but rather a strategic hybridization that can generate new productive forms.

Blood Cinema (1993)

p. 11, “Transcultural Reinscription, is concerned with the ideological reinscription of conventions that are borrowed from other cultures and set in conflict with each other, a process of hybridization that is capable of carving out a new aesthetic language, as was the case in “the New Spanish Cinema.”

p. 19, “Because of their popular appeal and despite their ideological differences, both the Hollywood and neorealist models could be used to challenge the regime’s monolithic hold over Spanish culture, especially when they were set in dialectic opposition to each other.”

Language Machines (1997)
MK essay, “Screen Wars: Transmedia Appropriations from Eisenstein to a TV Dante and Carmen Sandiego”

p. 180, “By now it may be apparent (especially from the endnotes) that this essay reflexively traces the trajectory of my own career, which began thirty years ago with a dissertation on Fielding’s experimentation in the theater in relation to his novels, and then turned in succession through an ongoing process of “promiscuous” analogic thinking to movies, television, video games, CD-ROMs, and other forms of popular culture. While each new project was screened or reframed through my previous objects of study, they all remain deeply engaged with the ongoing process of transmedia appropriations and transcultural reinscription.