tain resistance on the part of authority." 1 Daisies [Sedmikrásky] (Czechoslovakia, 1966) was no exception. Denounced by state deputies in Czechoslovakia for "hav[ing] nothing in common with our Republic, socialism, and the ideals of communism," 2 Daisies was initially banned and only eventually allowed public screening, and Chytilová herself was barred from filmmaking from 1969 to 1975.The product of a collaboration between three premier filmmakers of the Czech New Wave (Chytilová, Ester Krumbachová, and Jaroslav Kucera), 3 Daisies turns upon the picaresque exploits of two beautiful girls, Marie 1 and Marie 2 (played by two nonactors, Jitka Cerhová and Ivana Karbanová, respectively), whose destructive antics are rendered in an episodic narrative that ends by punishing them for their many infractions and inability to reform. In interviews and historical documents, Chytilová has always maintained that she intended Daisies to be a coded critique of its protagonists. In her view, the socialist bureaucrats who denounced it for celebrating its depraved hero-

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Ghosts call our calendars into question. The temporality of haunting, through which events and people return from the limits of time and mortality, differs sharply from the modern concept of a linear, progressive, universal time. The hauntings recounted by ghost narratives are not merely instances of the past reasserting itself in a stable present, as is usually assumed; on the contrary, the ghostly return of traumatic events precisely troubles the boundaries of past, present, and future, and cannot be written back to the complacency of a homogeneous, empty time.The ghost always presents a problem, not merely because it might provoke disbelief, but because it is only admissible insofar as it can be domesticated by a modern concept of time. 1 Modern time consciousness can be characterized as disenchanted (the supernatural has no historical agency); empty (a single universal history includes all events, irrespective of cultural disparity); and homogeneous (history transcends the "singularity" of events, because it exists positions 9:2

In recent years, the aswang-a supernatural creature of Philippine folklore that is often associated with female monstrosity and patriarchal misogyny-is being flamboyantly queered across a range of media. The aswang is a centuries-old transmedial, transgeneric figure whose monstrosity has been interpellated by gender-essentialist agendas while nonetheless epitomizing disruptive gender instabilities. In the handful of texts that comprise queer aswang transmedia-a 2011 Filipino novel (Ricky Lee's Si Amapola sa 65 na Kabanata [Amapola in 65 Chapters]), mainstream film (Mga Bata ng Lagim [Children of Terror], dir. Mar S. Torres, 1964), and amateur digital video (Amabilis 2, 2011)-the aswang, an iconic female monster, is being destabilized and re-imagined. Gay men (or more accurately, bakla subjects) are occupying the place formerly reserved for monstrous women. This queering of aswang transmedia is a forceful, funny, yet undeniably risky reapproriation lodged in language ("swardspeak") and a kind of pinoy [Filipino] camp style. This essay attempts to theorize a distinctly Filipino camp sensibility in relation to queer time. It wrestles with queer aswang transmedia's implications for both temporality (since anachronism underpins the cultural figures of both bakla and aswang) and visibility (queer scholars argue that the bakla, stigmatized as effeminate and lower class, is increasingly the object of forcible bourgeois erasure in the face of the urban gay scene's aspirations toward an imagined gay globality.) Keywords bakla manananggal (viscera sucker); pinoy camp temporality; anachronism and coevalness; queering Philippine folklore; baylan and asog (indigeneous Animist shamans)

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