In her introduction of Transnational Feminism Leela Fernandes examines the visual knowledge through representation in public spheres. New technologies play an important role in visual representation. This development is highly important as national borders are crossed with ease, they are therefore not important, which makes them ultimately fictitious. A change in political and cultural life is an automatic consequence. Nevertheless, the existence of new technologies can be used as a tool for states at the same time. This has to be kept in mind my while analyzing the impact of film and television on cultural identities and forms for example. 

In chapter 3 Fernandes analyses the power these forms of knowledge have, in relation to the national context; she therefore presents the power of these knowledge representations. She focuses on two cultural products, Bandit Queen and Slumdog Millionaire. These movies are examples of how a reproduction of subjectivity is performed. Political science perspectives are interweaving with affective economy. She shows how uneven this relationship is, resting on the corresponding forms of labor production (64). Social change is therefore shaped by power, knowledge, representation, and ethical implications. These materials become constructed identities, which raise segregation and privileges. A way to form an identity is to say what one is not. 

       In The Organization of Hate Sarah Ahmed uses the same concept. Her starting quote was very interesting in these terms “It is not hate that brings the rage into the heart (…) It is love“ (42). This sounded confusing at the very first read; but while she tries to position hate which we could consider the unknown, she sais what it is actually not. She positions it in relation to the oppposite, in this case love. Shortly, she positions opposites to define what something is, or is not. In her essay she shows in particulat how hate can attach to collective or individual bodies. It then becomes a narrative of the body. And this narrative is created by the privileged one, actually trying to exclude him or herself.

      In Haiti Needs New Narratives, Gyna Ulysse gives an example of how Haitians after the earthquake of 2010 are viewed. The narrative are backwards people, incapable of helping themselves. The Haitian bodie is narrowed down, with ignoring many parts of their history. At the same time they do not have the power to change this transnational narrative. They are the construction of the privileged, again, the one who tried to define him or herself in relation to this body, for example as a savior.