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This article examines two film adaptations of the same novel as a media strategy that takes advantage of transnational film industry practices and infrastructure in order to produce films for targeted national consumption. In 2015, two film adaptations of the Dutch YA (Young Adult) novel  Boy 7  by author Mirjam Mous were in production simultaneously, one a Dutch production by Lemming Films, the other a German-language version produced by Hamster Film, Lemming’s German sister company. The source novel, a science fiction thriller in the vein of texts such as  The Hunger Games , had been very successful with a teenage readership in both countries because of its transnational characteristics and global appeal. The article discusses the film adaptations of  Boy 7  as a case study that illuminates the continued positioning of European genre cinema as part of national film traditions. I argue that this position is mainly industry driven and a result of commercial concerns, but it also reveals the tensions between, on the one hand, increasingly transnational industry practices and, on the other, the persistence of cultural specificity and the need to appeal to local and national audiences whose tastes are being shaped by global cinema.

Boy 7 in double exposure: European genre cinema between transnational industry practices and national consumption