This book basically says that you should step outside your particular national and cultural environment, and get a good glimpse of movie making in a global sense. Of course, for most of us, movies means those made or financed by Hollywood. Inarguably, Hollywood by itself is a global viewpoint. Possibly the predominant one.
But Badley and other authors in this book enliven us with understandings of movie making trends elsewhere. One chapter discusses the ferment in Eastern Europe after the fall of Communism. While another chapter relates the struggles of African cinema, both during and after colonialism. And Mottahedeh describes the travails of Iranian cinema after the fall of the Shah. Where directors and actors often vie against Islamic censors. Further east, Teo gives an all-too-brief synopsis of Chinese cinema after World War 2. It would be nice to have a more thorough commentary on the Hong Kong industry, for example.
Of course, no book on global films would be complete without a section on the vibrant Bollywood scene.
The only criticism of this book is that the lack of space permits only brief coverages of many complex national cinemas. Though this might be unfair. Badley was not trying to put together a huge tome. But to give you a sampling across the world.