This thesis examines regional cinema as a cultural practice capable of producing alternative pers... more This thesis examines regional cinema as a cultural practice capable of producing alternative perspectives about the nation. It studies films and practices in various filmmaking sites to show that regional cinema offers a new way of imagining the nation as an archipelago. The thesis proposes that this new imaginary challenges the view of the nation as unified, coherent, and homogenous where the regions are marginalised. Instead, it presents the nation as composed of multiple and interrelated regions with distinct histories and cultures that coexist on equal terms. The thesis posits that reimagining the nation as an archipelago opens possibilities for a change towards an egalitarian and inclusive social relation in the nation.
This essay focuses on three of Jeffrey Jeturian’s films: Pila Balde (1999), Tuhog (2001), and Kub... more This essay focuses on three of Jeffrey Jeturian’s films: Pila Balde (1999), Tuhog (2001), and Kubrador (2006). It follows Roland Tolentino’s analysis of the Brocka films but focuses on the trope of the female characters, as it suggests discussing the films as articulations of the nation-space in which women characters are the primary trope to map the discourse on nation; the analysis emphasizes the intersection of gender and nation.
The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao Cit... more The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao City in southern Philippines function as imaginative mediations of urban anxieties in the region. Discussing f irst existing scholarship on Philippine horror cinema, the essay then maps the emergence of regional filmmaking in contemporary independent cinema before briefly touching on the ways Filipino mainstream and independent films construct urban spaces. As the analysis shows, the horror short films articulate people’s anxieties over socio-economic and political realities experienced in Davao, such as extrajudicial killings, enactment of a pioneering anti-discrimination ordinance, urban diaspora, and cosmopolitanism. In addition, they reveal people’s complex views and attitudes towards urbanization and modernity against the specter of rurality in Davao City. The paper argues that these films imagine, not just the uneasy position of a regional city in the national topography shaped by the...
The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao Cit... more The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao City in southern Philippines function as imaginative mediations of urban anxieties in the region. Discussing f irst existing scholarship on Philippine horror cinema, the essay then maps the emergence of regional f ilmmaking in contemporary independent cinema before briefly touching on the ways Filipino mainstream and independent f ilms construct urban spaces. As the analysis shows, the horror short films articulate people's anxieties over socioeconomic and political realities experienced in Davao, such as extrajudicial killings, enactment of a pioneering anti-discrimination ordinance, urban diaspora, and cosmopolitanism. In addition, they reveal people's complex views and attitudes towards urbanization and modernity against the specter of rurality in Davao City. The paper argues that these films imagine, not just the uneasy position of a regional city in the national topography shaped by the socioeconomic operations of globalization, but also the anxiety of a Third World formation hounded by the specter of uneven development.
Regional filmmaking in the Philippines, or filmmaking outside Manila that uses local talents and ... more Regional filmmaking in the Philippines, or filmmaking outside Manila that uses local talents and non-Tagalog-based Filipino languages, has gained strong presence in independent cinema in the nation's capital as evidenced by the yearly increase in regional film productions and national awards given to them. A national film festival devoted to regional cinemas has been in existence for nine years and neighbors in Asia have also recognized them by including regional films in their festivals, such as in the 4th Southeast Asian Film Festival in Singapore that screened films from Mindanao, south of the Philippines.
Given this increased presence of regional cinemas in the national and international level, they become a vital element in the constitution of the country's filmic heritage. How, then, do these films engage in this constitution? How do regional filmmakers as citizens of a locality participate in the making of a national heritage?
To answer these questions, I provide an overview of contemporary regional films and how they challenge the national character of Filipino’s filmic heritage. Examples of regional films were discussed to illustrate its role in the constitution of a national filmic heritage—as a challenge to the notion of a national cinema based on the Manila-centric commercial and independent cinemas that use Tagalog--and as an agent constituting it, giving it a more inclusive and dynamic character by highlighting the pluralistic cultures of the Philippines.
In addition, I discussed the distinct use of vernacular language or dialect in regional films. With this characteristic, regional films become a medium to mainstream and preserve the country’s (multi)linguistic heritage. As such, regional films have not only filmic but also linguistic value.
The study posits that at one level, regional films express what can be taken as a regional identity; these films then constitute a national identity that recognizes a plurality of cultures hence, a plurality of a nation’s cultural heritage.
A published book review of Digital Cinema in the Philippines 1999-2009
Please click here for fu... more A published book review of Digital Cinema in the Philippines 1999-2009
This thesis examines regional cinema as a cultural practice capable of producing alternative pers... more This thesis examines regional cinema as a cultural practice capable of producing alternative perspectives about the nation. It studies films and practices in various filmmaking sites to show that regional cinema offers a new way of imagining the nation as an archipelago. The thesis proposes that this new imaginary challenges the view of the nation as unified, coherent, and homogenous where the regions are marginalised. Instead, it presents the nation as composed of multiple and interrelated regions with distinct histories and cultures that coexist on equal terms. The thesis posits that reimagining the nation as an archipelago opens possibilities for a change towards an egalitarian and inclusive social relation in the nation.
This essay focuses on three of Jeffrey Jeturian’s films: Pila Balde (1999), Tuhog (2001), and Kub... more This essay focuses on three of Jeffrey Jeturian’s films: Pila Balde (1999), Tuhog (2001), and Kubrador (2006). It follows Roland Tolentino’s analysis of the Brocka films but focuses on the trope of the female characters, as it suggests discussing the films as articulations of the nation-space in which women characters are the primary trope to map the discourse on nation; the analysis emphasizes the intersection of gender and nation.
The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao Cit... more The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao City in southern Philippines function as imaginative mediations of urban anxieties in the region. Discussing f irst existing scholarship on Philippine horror cinema, the essay then maps the emergence of regional filmmaking in contemporary independent cinema before briefly touching on the ways Filipino mainstream and independent films construct urban spaces. As the analysis shows, the horror short films articulate people’s anxieties over socio-economic and political realities experienced in Davao, such as extrajudicial killings, enactment of a pioneering anti-discrimination ordinance, urban diaspora, and cosmopolitanism. In addition, they reveal people’s complex views and attitudes towards urbanization and modernity against the specter of rurality in Davao City. The paper argues that these films imagine, not just the uneasy position of a regional city in the national topography shaped by the...
The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao Cit... more The essay examines how horror shor t f ilms produced by independent filmmakers based in Davao City in southern Philippines function as imaginative mediations of urban anxieties in the region. Discussing f irst existing scholarship on Philippine horror cinema, the essay then maps the emergence of regional f ilmmaking in contemporary independent cinema before briefly touching on the ways Filipino mainstream and independent f ilms construct urban spaces. As the analysis shows, the horror short films articulate people's anxieties over socioeconomic and political realities experienced in Davao, such as extrajudicial killings, enactment of a pioneering anti-discrimination ordinance, urban diaspora, and cosmopolitanism. In addition, they reveal people's complex views and attitudes towards urbanization and modernity against the specter of rurality in Davao City. The paper argues that these films imagine, not just the uneasy position of a regional city in the national topography shaped by the socioeconomic operations of globalization, but also the anxiety of a Third World formation hounded by the specter of uneven development.
Regional filmmaking in the Philippines, or filmmaking outside Manila that uses local talents and ... more Regional filmmaking in the Philippines, or filmmaking outside Manila that uses local talents and non-Tagalog-based Filipino languages, has gained strong presence in independent cinema in the nation's capital as evidenced by the yearly increase in regional film productions and national awards given to them. A national film festival devoted to regional cinemas has been in existence for nine years and neighbors in Asia have also recognized them by including regional films in their festivals, such as in the 4th Southeast Asian Film Festival in Singapore that screened films from Mindanao, south of the Philippines.
Given this increased presence of regional cinemas in the national and international level, they become a vital element in the constitution of the country's filmic heritage. How, then, do these films engage in this constitution? How do regional filmmakers as citizens of a locality participate in the making of a national heritage?
To answer these questions, I provide an overview of contemporary regional films and how they challenge the national character of Filipino’s filmic heritage. Examples of regional films were discussed to illustrate its role in the constitution of a national filmic heritage—as a challenge to the notion of a national cinema based on the Manila-centric commercial and independent cinemas that use Tagalog--and as an agent constituting it, giving it a more inclusive and dynamic character by highlighting the pluralistic cultures of the Philippines.
In addition, I discussed the distinct use of vernacular language or dialect in regional films. With this characteristic, regional films become a medium to mainstream and preserve the country’s (multi)linguistic heritage. As such, regional films have not only filmic but also linguistic value.
The study posits that at one level, regional films express what can be taken as a regional identity; these films then constitute a national identity that recognizes a plurality of cultures hence, a plurality of a nation’s cultural heritage.
A published book review of Digital Cinema in the Philippines 1999-2009
Please click here for fu... more A published book review of Digital Cinema in the Philippines 1999-2009
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Given this increased presence of regional cinemas in the national and international level, they become a vital element in the constitution of the country's filmic heritage. How, then, do these films engage in this constitution? How do regional filmmakers as citizens of a locality participate in the making of a national heritage?
To answer these questions, I provide an overview of contemporary regional films and how they challenge the national character of Filipino’s filmic heritage. Examples of regional films were discussed to illustrate its role in the constitution of a national filmic heritage—as a challenge to the notion of a national cinema based on the Manila-centric commercial and independent cinemas that use Tagalog--and as an agent constituting it, giving it a more inclusive and dynamic character by highlighting the pluralistic cultures of the Philippines.
In addition, I discussed the distinct use of vernacular language or dialect in regional films. With this characteristic, regional films become a medium to mainstream and preserve the country’s (multi)linguistic heritage. As such, regional films have not only filmic but also linguistic value.
The study posits that at one level, regional films express what can be taken as a regional identity; these films then constitute a national identity that recognizes a plurality of cultures hence, a plurality of a nation’s cultural heritage.
http://sensesofcinema.com/2018/book-reviews/declaring-the-end-signaling-a-renewal-the-end-of-national-cinema-filipino-films-at-the-turn-of-the-century-by-patrick-campos/
Please click here for full text:
http://www.plarideljournal.org/article/review-digital-cinema-philippines-1999-2009-eloisa-may-p-hernandez/
Given this increased presence of regional cinemas in the national and international level, they become a vital element in the constitution of the country's filmic heritage. How, then, do these films engage in this constitution? How do regional filmmakers as citizens of a locality participate in the making of a national heritage?
To answer these questions, I provide an overview of contemporary regional films and how they challenge the national character of Filipino’s filmic heritage. Examples of regional films were discussed to illustrate its role in the constitution of a national filmic heritage—as a challenge to the notion of a national cinema based on the Manila-centric commercial and independent cinemas that use Tagalog--and as an agent constituting it, giving it a more inclusive and dynamic character by highlighting the pluralistic cultures of the Philippines.
In addition, I discussed the distinct use of vernacular language or dialect in regional films. With this characteristic, regional films become a medium to mainstream and preserve the country’s (multi)linguistic heritage. As such, regional films have not only filmic but also linguistic value.
The study posits that at one level, regional films express what can be taken as a regional identity; these films then constitute a national identity that recognizes a plurality of cultures hence, a plurality of a nation’s cultural heritage.
http://sensesofcinema.com/2018/book-reviews/declaring-the-end-signaling-a-renewal-the-end-of-national-cinema-filipino-films-at-the-turn-of-the-century-by-patrick-campos/
Please click here for full text:
http://www.plarideljournal.org/article/review-digital-cinema-philippines-1999-2009-eloisa-may-p-hernandez/