In 20th century cinema emerged as the largest mass media round the world. Throughout the digital and artistic revolution in cinematic industry it is inherited as a transnational tool of the artist-director relationship based on its consumption and reception as a capitalist product. The politics of culture and nation is intrinsic in the verbal and non-verbal translation of the cinematic languages where translation, nation and language have been embodied as a composite area of the postcolonial readings. The present study attempts to evaluate the politics of the cultural nation as conceived in Michael Wood's “The Language of Cinema” (2005).
