Fandom, Consumption and Collectivity in the Philippine New Cinema: Nora and the Noranians

Lim, Bliss Cua

doi:10.1057/9781137024626_10

Cited by 12 publications

(1 citation statement)

References 6 publications

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“…For today, it has given us the inspiration to regain our lost hopes—for us to unite once again. Let's hold each other's hands and in one voice, let's shout so that the government could hear our plea and finally give us more jobs … So that people like Flor … won't be forced to leave [their] family and loved ones to work abroad … towards [their] own risks and death.Playing Flor in Lamangan's film, the legendary Philippine actress and recording artist Nora Aunor mirrored the bereavement of the global Filipino nation and evoked a kind of mourning, or ‘ pagluluksa ’, where she “enact[ed] the cultural process of transforming awa [pity] into damay [commiseration] or pakikidalamhati [the sharing of grief], and finally into pakikiisa [solidarity] … refunction[ing] the commodification of grief into a virtue of collective action” (Flores 2000: 85 as cited in Lim 2012: 197). In the film, Aunor's powerful performance as Flor both reopens the wounds of trauma and tidily sutures them at the end, while in real-life, we know that this film comes at an extraordinary cost.…”

Section: The Heralding Of Heroes and The Making Of Martyrsmentioning

confidence: 99%

Lives Lived in “Someone Else's Hands”: Precarity and Profit-making of Migrants and Left-behind Children in the Philippines

Alipio

2019

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In the labour brokerage state of systematic recruitment and export for the maximisation of labour, development, and profit, the Philippines continues to simultaneously fashion migrant workers as temporary, yet heroic and sacrificial. As the largest migrant-sending country in Southeast Asia and the third largest remittance recipient in Asia, the Philippines’ discourse of migrants as modern-day heroes and martyrs reveals the interplay of nationalist myths and cultural values, alongside the neoliberal favouring of finance and flexible labour, to craft filial migrants and celebrate mobile, capitalist subjects over migrants’ welfare and well-being. The article explores the contemporaneous institutionalisation of migrant labour and migrants’ institutionalised uncertainty lived every day to investigate how this profound precariousness in the Philippines is perpetuated historically to shape the resilience and realities of migrants and their left-behind children today. Drawing from news reports and films on migrant lives and ethnographic fieldwork in the Philippines, this article considers how the formation and deployment of overseas Filipino workers (OFWs) turns from a focus on sustaining the nation to supporting migrant families and developing translocal communities. Through this examination, the paper seeks to uncover who profits and is indebted from the precarity created and sustained by the larger economic system built on transnational labour migration.

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Section: The Heralding Of Heroes and The Making Of Martyrsmentioning

confidence: 99%

Lives Lived in “Someone Else's Hands”: Precarity and Profit-making of Migrants and Left-behind Children in the Philippines

Alipio

2019

TRaNS

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Keywords for Philippine Cinema's Archival Afterlives

2024

The Archival Afterlives of Philippine Cinema

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The phrase “archival afterlives” names the recognition that older Philippine films survive despite a history of defunct state and private archives. Synthesized from archival theory, feminist epistemologies, and postcolonial historiography, the book's key concepts—archival silence, archival power, and making do—move beyond mourning archival loss to foreground resourceful low-budget tactics for ensuring access. The Philippines' history of short-lived film archives gives rise to an anarchival condition that contradicts the fantasy of archival permanence; nonetheless, a decentralized advocacy for audiovisual archives perseveres through a kind of Sisyphean hope. The introduction offers a materialist media analysis that traces the afterlife of the last extant Filipino nitrate film, Ibong Adarna (Adarna bird; 1941), destroyed shortly after its 2005 migration and restoration. It also recounts the makeshift digitization of a decaying 16mm propaganda film, From a Season of Strife (1972), a rare glimpse into the early 1970s anti-Marcos protest movement known as the First Quarter Storm.

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A Tale of Three Buildings

2024

The Archival Afterlives of Philippine Cinema

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The 2004 closure of the Philippine Information Agency's Motion Picture Division (PIA-MPD) had negative repercussions on three key collections entrusted to the PIA: films from the National Media Production Center; the Movie and Television Review and Classification Board (including remnants of the defunct Film Archives of the Philippines); and LVN Pictures. Analyzing the makeshift digitization of two propaganda films about Ferdinand Marcos's 1972 declaration of martial law, the chapter affirms the need for public accountability and legislation to safeguard the institutional continuity and autonomy of audiovisual archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the collapse of various archives, the chapter concludes by conceptualizing archival survival as involving more than the material preservation of media. Philippine archival survival also entails exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.

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Fandom, Consumption and Collectivity in the Philippine New Cinema: Nora and the Noranians

Cited by 12 publications

References 6 publications

Lives Lived in “Someone Else's Hands”: Precarity and Profit-making of Migrants and Left-behind Children in the Philippines

Lives Lived in “Someone Else's Hands”: Precarity and Profit-making of Migrants and Left-behind Children in the Philippines

Keywords for Philippine Cinema's Archival Afterlives

A Tale of Three Buildings

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