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As a category which seeks to represent the totality of global film productions, World Cinema is here discussed by focusing on its use both in the theoretical and in the practical fields, so as to offer a critical comprehension of this concept. For this purpose, firstly I focus on some of the most meaningful definitions of World Cinema within film studies; secondly, I attempt an understanding of this category through its commercial usage in order to underline its touristic vocation and how it isdoi:10.6092/issn.2280-9481/6847 fatcat:nu2vvdmzuff2hhhatow7p5fn3m