DOCSLIB.ORG

Cherubim A. Quizon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cherubim A. Quizon Quizon, Curriculum Vitae Cherubim A. Quizon Seton Hall University Associate Professor Department of Sociology, Anthropology and Social Work [email protected] Faculty Profile: https://www.shu.edu/profiles/cherubimquizon.cfm Professional Positions Associate Professor, Seton Hall University, Department of Sociology, Anthropology and Social Work. (2009 - Present). Assistant Professor, Seton Hall University, Department of Sociology and Anthropology. (2003 - 2009). Adjunct Assistant Professor, State University of New York, Department of Anthropology. (2001 - 2003). Assistant Professor, University of the Philippines, Department of Art Studies. (1993 - 1995). Instructor, University of the Philippines, Diliman, Department of Art Studies. (1985 - 1993). Education PhD, Anthropology. State University of New York at Stony Brook, 2000. MA, Art History and Criticism. State University of New York at Stony Brook, 1991. BA, Humanities, Pre-Med. University of the Philippines - Diliman, 1985. Publications, book chapters & peer review Quizon, C., Magpayo-Bagajo, F. (in press). Botanical knowledge and indigenous textiles in the Southern Mindanao highlands: Method and synthesis using ethnography and ethnobotany. Southeast Asia Research. https://www.tandfonline.com/toc/rsou20/current Quizon, C. (2019). The Weaver’s House: Ethnography, Translation and Video in the Highlands of Mindanao. Visual Anthropology Review, 35(2), 148-161. https://anthrosource.onlinelibrary.wiley.com/doi/10.1111/var.12189 Quizon, C. (2018). The color purple: Indigenous weavers, heritage cloth, and plural cosmopolitanism in practice. In R. Shepherd (Ed.), Cosmopolitanism and Tourism: Rethinking Theory and Practice (pp. 139-161). Lanham, MD and New York, NY: Lexington Books/Rowman & Littlefield. Suzuki, L.A., Quizon, C. (2016). Racial Inequalities and the Assessment of Intelligence: A Brief Historical and Interdisciplinary View. Talking About Structural Inequalities in Everyday Life : New Politics of Race in Groups, Organizations, and Social Systems (pp. 241--260). Charlotte, NC: Information Age Publishing. Quizon, C. (2013). Shared landscapes, cloth and meaning in the Mindanao Highlands [“Paysages étoffes, univers symboliques: patrimoine commun des montagnards de Mindanao”]. In C. Monbrison & C. Alvina (Eds.), Philippines: Islands of Exchange (pp. 312-333). Paris: Musée de quai Branly & Actes Sud. Quizon, Curriculum Vitae Suzuki, L. A., Quizon, C. (2012). Interdisciplinarity in qualitative research with ethnocultural populations. In D. K. Nagata, L. Kohn-Wood, & L. A. Suzuki (Eds.), Qualitative strategies for ethnocultural research. (pp. 21--40). Washington, DC: American Psychological Association. Quizon, C. (2012). Lang Dulay: Lake Sebu, Mindanao, Philippines. In R. W. Hamilton & M. C. Berns (Eds.), Weavers' Stories from Island Southeast Asia (pp. 71--79). Los Angeles, CA: Fowler Museum of Cultural History, University of California. Quizon, C. (2012). Dressing the lumad body: Indigenous peoples and the development discourse in Mindanao. Humanities Diliman, 9(2), 32--57. https://journals.upd.edu.ph/index.php/humanitiesdiliman Quizon, C. (2011). Untangling the (abaca) knot: a kinship of fiber, color, and loom in textiles of Southeast Asia and the Pacific. In P. Benitez-Johannot (Ed.), Paths of origins : the Austronesian heritage in the collections of the National Museum of the Philippines, the Museum Nasional Indonesia and the Netherlands Rijksmuseum voor Völkenkunde. (pp. 88--103). Singapore and Manila: ArtPostAsia. Quizon, C. (2007). Costume, kóstyom, and dress: Formulations of Bagóbo ethnic identity in southern Mindanao. Ethnology, 46(4), 271--288. www.jstor.org/stable/20456632. Quizon, C. (2005). Indigenism, painting and identity: Mixing media under Philippine dictatorship. Asian Studies Review, 29(3), 287--300. https://www.tandfonline.com/doi/full/10.1080/10357820500270169 Suzuki, L.A., Mattis, J.S., Ahluwalia, M.K., Quizon, C. (2005). Ethnography in counseling psychology research: Possibilities for application. Journal of Counseling Psychology, 52(2), 206--214. DOI: 10.1037/0022-0167.52.2.206 https://psycnet.apa.org/PsycARTICLES/journal/cou/52/2hhhh Quizon, C. (2004). Two Yankee Women at the St. Louis Fair: The Metcalf Sisters and their Bagobo Sojourn in Mindanao. Philippine Studies, 52(4), 527--555. https://www.jstor.org/stable/42634964 Quizon, C., Afable, P. O. (2004). Guest Editors' Introduction: Rethinking Displays of Filipinos at St. Louis: Embracing Heartbreak and Irony. Philippine Studies, 52(4), 439--444. /www.jstor.org/stable/42634960 Quizon, C. (2000). A certain sameness : abaca ikat cloth, dress and Bagobo group identity in Davao, Southern Mindanao, the Philippines (PhD. Diss.). Quizon, C. (1998). Between the field and the museum: the Benedict Collection of Bagobo abaca ikat textiles. Textile Society of America Symposium Proceedings (1998th ed.). Textile Society of America and University of Nebraska. http://digitalcommons.unl.edu/tsaconf/201 Quizon, C. (1998). Men, women, war and peace: perspectives on Bagobo and B’laan textile. In R. Hamilton (Ed.), From the rainbow’s varied hue: textiles of the Southern Philippines (pp. 103--132). University of California at Los Angeles, Fowler Museum. Quizon, C. (1991). Ethnographic knowledge and the display of Philippine Igorots in the Louisiana Purchase Exposition, 1904 (M.A. Thesis). Publications, book reviews, catalog essays, translations, others Quizon, C. (in press). Review of Tourism and prosperity in Miao land: power and inequality in rural ethnic China by Xianghong Feng. Journal of Tourism and Culture Change. Quizon, C. (2020). Blaan textiles and their changing contexts in Mindanao. Textiles Asia Journal, 12(1), 15-22. https://www.textilesasia.com/ Quizon, Curriculum Vitae Quizon, C. (2017). Review of Transforming Nikkeijin Identity and Citizenship: Untold Life Histories of Japanese Migrants and Their Descendants in the Philippines, 1903–2013 by Shun Ohno. International Journal of Asian Studies (1st ed., vol. 14, pp. 107). University of Tokyo. https://www.cambridge.org/core/journals/international-journal-of-asian-studies Quizon, C. (2010). Philippines: South. Encylopedia of World Dress and Fashion, Vol. 4: South Asia & Southeast Asia (vol. 4). Oxford and New York: Berg. http://dx.doi.org/10.2752/BEWDF/EDch4050 Quizon, C. (2010). Review of Hawaiian Blood: Colonialism and the Politics of Sovereignty and Indigeneity by J. Kehaulani Kauanui. Anthropological Quarterly (1st ed., vol. 83, pp. 209). Washington, DC:. https://muse.jhu.edu/journal/10 Quizon, C. (2008). Teaching Anthropology in Small and Liminal Programs. Anthropology News, 49(6), 34--36. https://www.anthropology-news.org/ Quizon, C. (2000). Review od Africans on Stage: Studies in Ethnological Show Business Bernth Lindfors. African Arts (4th ed., vol. 33, pp. 14--15). https://www.jstor.org/stable/3337788 Quizon, C. (1996). Translation, Article (Filipino to English) by Rosario Torres-Yu, “The State of Philippine Literature,” in Nationalist Literature: A Centennial Forum, edited by Elemer A. Ordoñez. Quezon City: University of the Phillippines Press and PANULAT, Philippine Writers Academy. Quizon, C. (1991). High and Low! Modern Art and Popular Culture (Exhibition review), Museum of Modern Art, New York, NY. Art Criticism, 7(1), 50-55. http://hdl.handle.net/1951/58681 Quizon, C. (1987). What’s wrong with the Ninoy Aquino statues? A critique of commemorative sculpture in two parts (pp. 11). Manila, Philippines. Quizon, C. (1989). Translation, Poem (Filipino to English) by Lilia Quindoza-Santiago. Kagampan, at iba pang tula. Manila: Kalikasan Press. Quizon, C. (1984). Translation, Various poems (Filipino to English) in The politics of culture: The Philippine experience. Proceedings and anthology of essays, poems, songs, skits, and plays of the MAKIISA 1, People's Culture Festival. Edited by Nicanor Tiongson. Manila: Philippine Educational Theatre Association. Policy/white papers Quizon, C., “Beyond rhetoric: a field-based perspective on the art of abaca ikat textile weaving in southern Mindanao.” Final report submitted the National Commission for Culture and the Arts-Subcommission on Cultural Communities and Traditional Arts (NCCA-SCCTA), Office of the President, Republic of the Philippines. (1997). Presentations, peer review conferences Quizon, C. (Presenter/author), Textiles in Motion and Transit 2020, "Bling and beauty over time: Bagobo textiles for World’s Fairs and beauty queens," International Institute for Asian Studies (IIAS), Tracing Patterns Foundation, Textile Research Centre, IIAS-Leiden, Leiden, Netherlands. (originally scheduled October 5, 2020). Quizon, C. (Organizer and Chair), AAS-in-Asia 2020, "The Philippine Indigenous Peoples Rights Act (IPRA) two decades later: What worked, what failed, what now?," Association for Asian Studies (AAS), International Academic Forum (IAFOR), Kobe Convention Center, Kobe, Japan. (forthcoming 31 August – 4 September 2020). https://ipra-ph.org/ Quizon, Curriculum Vitae Quizon, C. (Presenter/author), 10th EuroSEAS (European Association for Southeast Asian Studies) Conference, "Notes on the significance of Morinda and other reds in the Bagobo textile hierarchy," European Association for Southeast Asian Studies, Humboldt-Universität zu Berlin, Berlin, Germany. (September 12, 2019). Quizon, C. (Presenter/author), SOAS Conference on Mindanao, "Botanical knowledge and the making of indigenous dress in the Southern Mindanao highlands," School of Oriental and African Studies (SOAS), University of London, London,
Load more

Recommended publications
  • 2013 PHILIPPINE CINEMA HERITAGE Summita Report
    2013 PHILIPPINE CINEMA HERITAGE SUMMIT a report Published by National Film Archives of the Philippines Manila, 2013 Executive Offi ce 26th fl r. Export Bank Plaza Sen Gil Puyat Ave. cor. Chino Roces, Makati City, Philippines 1200 Phone +63(02) 846 2496 Fax +63(02) 846 2883 Archive Operations 70C 18th Avenue Murphy, Cubao Quezon City, Philippines 1109 Phone +63 (02) 376 0370 Fax +63 (02) 376 0315 [email protected] www.nfap.ph The National Film Archives of the Philippines (NFAP) held the Philippine Cinema Heritage Summit to bring together stakeholders from various fi elds to discuss pertinent issues and concerns surrounding our cinematic heritage and plan out a collaborative path towards ensuring the sustainability of its preservation. The goal was to engage with one another, share information and points of view, and effectively plan out an inclusive roadmap towards the preservation of our cinematic heritage. TABLE OF CONTENTS PROGRAM SCHEDULE ROUNDTABLE DISCUSSION 2, COLLABORATING TOWARDS 6 23 SUSTAINABILITY EXECUTIVE SUMMARY NOTES ON 7 24 SUSTAINABILITY OPENING REMARKS ANALYSIS AND RECOMMENDATIONS in the wake of the 2013 Philippine Cinema 9 26 Heritage Summit ARCHITECTURAL CLOSING REMARKS 10 DESIGN CONCEPT 33 NFAP REPORT SUMMIT EVALUATION 13 2011 & 2012 34 A BRIEF HISTORY OF PARTICIPANTS ARCHIVAL ADVOCACY 14 FOR PHILIPPINE CINEMA 35 ROUNDTABLE DISCUSSION 1, PHOTOS ASSESSING THE FIELD: REPORTS FROM PHILIPPINE A/V ARCHIVES 21 AND STAKEHOLDERS 37 A BRIEF HISTORY OF ARCHIVAL ADVOCACY FOR PHILIPPINE CINEMA1 Bliss Cua Lim About the Author: Bliss Cua Lim is Associate Professor of Film and Media Studies and Visual Studies at the University of California, Irvine and a Visiting Research Fellow in the Center for Southeast Asian Studies at Kyoto University.
    [Show full text]
  • Filipinas): Historias Etnográficas Sobre Impacto Y Sostenibilidad
    TESIS DOCTORAL AÑO 2015 LA “COMEDIA” DEL DESARROLLO INTERNACIONAL EN LA ISLA DE CAMIGUIN (FILIPINAS): HISTORIAS ETNOGRÁFICAS SOBRE IMPACTO Y SOSTENIBILIDAD ANDRÉS NARROS LLUCH DEA EN ANTROPOLOGÍA SOCIAL DEPARTAMENTO DE ANTROPOLOGIA SOCIAL Y CULTURAL -FACULTAD DE FILOSOFIA- UNIVERSIDAD NACIONAL DE EDUCACIÓN A DISTANCIA (UNED) DIRECTORA: BEATRIZ PÉREZ GALÁN CO-DIRECTORA: FENELLA CANNELL Dedicatoria A mis padres, por todo ese aliento que me dieron en mis siempre cortas visitas a España……. allí, en la cocina de mi madre, durante esas comidas con sabores a hogar, seguidas de sobremesas eternas. Un amor expresado en escucha y aliento, que ha sido una motivación única a largo de esta aventura que ahora les dedico, con el mismo amor que me dieron, esta vez de regreso… A Beatriz y a Octavio. 2 Agradecimientos A todas esas personas que han formado parte de este apasionante viaje. Mis compañeros del School of Oriental and African Studies de la Universidad de Londres, a David Landau, James Martin, Nyna Raget, gracias por hacer más bello este largo trayecto. A Honorio Velasco, Fenella Cannell, Rafael Vicente, David Lewis, David Marsen, David Mosse y John Sidel, a unos por inspirarme a otros, por alentarme. A mi directora, Beatriz Pérez Galán, no solo por dirigir sino también por apoyar y confiar en mi trabajo. A Valentín Martínez, por facilitarlo. A mis amigos de San Pedro…a Josefina, Zoila, Crispina, Aquino, gracias por hacer mi aprendizaje más humano. A aquellos niños de la aldea que después el tiempo convirtió en mis amigos más fieles, a Jessica, Wincelet, Florame, Reymart…. A mis viejos amigos de la cooperación, a aquellos que sabiendo de las profundas limitaciones de dicha industria continúan trabajando al son de sus ideales.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE Naming
    UNIVERSITY OF CALIFORNIA RIVERSIDE Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Neal D. Matherne June 2014 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. René T.A. Lysloff Dr. Sally Ann Ness Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Neal D. Matherne 2014 The Dissertation of Neal D. Matherne is approved: Committee Chairperson University of California, Riverside Acknowledgements This work is the result of four years spent in two countries (the U.S. and the Philippines). A small army of people believed in this project and I am eternally grateful. Thank you to my committee members: Rene Lysloff, Sally Ness, Jonathan Ritter, Christina Schwenkel. It is an honor to receive your expert commentary on my research. And to my mentor and chair, Deborah Wong: although we may see this dissertation as the end of a long journey together, I will forever benefit from your words and your example. You taught me that a scholar is not simply an expert, but a responsible citizen of the university, the community, the nation, and the world. I am truly grateful for your time, patience, and efforts during the application, research, and writing phases of this work. This dissertation would not have been possible without a year-long research grant (2011-2012) from the IIE Graduate Fellowship for International Study with funding from the Andrew W. Mellon Foundation. I was one of eighty fortunate scholars who received this fellowship after the Fulbright-Hays Doctoral Dissertation Research Abroad Program was cancelled by the U.S.
    [Show full text]
  • Celebrating 25 Years of Philippine Studies in Hawaii.Pdf
    ......··· UNIVERSITY OF HAWAI'I AT MANOA . School of Hawaiian, Asian and Pacific Studies Center for Philippine Studies To be published by Filipinas Magazine October 2000 Celebrating 25 Years of Philippine Studies in Hawaii By Jenny Duhaylonsod and Dean Alegado Among the things that come to mind whenpeopletfiink aboutH';l'Waii qre)Yaikiki's white beach~s and golden sunsets, the NorthShore'ssurfingcorttests·overS~foot·high waves, the swaying bodies of hu1a dancers, from . .gorgeousfl6werlei~,red-hotlavafloi,s . I . the Big Island's Kilauea volcano, Hawali 5-0, Magn~m PI, Benriy.. Agqa,y~i, a~d ~~1{ . .. .· ; . : ' :' . .\. .. .. .... ... --· ·. "~- .... ' Cayetano, the first Filipino-American governor.· in t~~ .U.S,,)10t~¢dsssaril;rin that()rder.>. ; .. ~; :.... Most people don't think about t11e pntyersityqf Hc1W;aiiahd its ijagship campgs pl1 •. •· •·· Manoa valley. Once in a while, they'll i-elll.ember1hai'p:Hh~s naiigl1hlly~ianked meh'sMd · ·.· .··.. · .;:::-. -~"·. ::-:,--:.:: . ._. '.• . ~- .::,:: :_:: ... ·... '• •., ·,:.:_: .. ... :-:-· women'S volleyball teams, as well as ate\ritclll~ecl fodib£il! teMb.'ilric16r ChaJ."iSmatic coa~ll C ···•··•·• ·' June Jones. "How can students study in paradis~, :so dios~ to W~ild~ ~11d tb~ h~~utifyl . beaches?" is a common comment especially fro~ ~l~lt~is~.T~bitiltuc~tiqn'i~~~tli~f·' UH is not viewed as a serious academic institution because there are too many distractions and students are unable to concentrate. The University of Hawaii at the Crossroads of Asia-Pacific The perception may be right on one level but it's mostly wrong. In fact UH is a serious research university which astounded the world a couple of years ago with the successful cloning of mice by a team of scientists headed by Prof.
    [Show full text]
  • Fall of Grace: Nora Aunor As Cinema 46
    Flores / Fall of Grace: Nora Aunor as Cinema 46 FALL OF GRACE: NORA AUNOR AS CINEMA Patrick D. Flores University of the Philippines [email protected] Abstract Nora Aunor is enlisted in this speculation as a medium in the register of both the cinema and the transmission of spirit. The key trajectory is the oft-cited film Himala, which opens up a conceptual space for mediumship, the technology of the actress, her biography and corpus of art, and the devotion to her person. The essay constellates a set of texts including the sculpture in honor of Elsa, the main character of Himala, the film Silip, and the life of a fan. Nora, the performative vessel of Elsa, becomes fundamentally cinematic. It is through her that Elsa is fleshed out as a miracle worker of vexing potency. Nora is herself a testament to the transformative potential of the technology of the cinema. Keywords devotion, film, image, medium, spirit, voice About the Author Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He is Adjunct Curator at the National Art Gallery, Singapore. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008).
    [Show full text]
  • Enduring Story of the People's Theater in the Philippines
    Rebecca & Ruby - Sarsuwela In Sarsuwela SARSUWELA IN SARSUWELA: ENDURING STORY OF THE PEOPLE’S THEATER IN THE PHILIPPINES Rebecca T. Añonuevo & Ruby Gamboa Alcantara Abstract The Sarsuwela is a meaningful tradition in the Philippine drama. Unfortunately, the contemporary use of the term “sarsuwela” in mass media refers to the antics of politicians that have tainted the word. This paper explores the real meaning of the sarsuwela since its separation from the colonial Zarzuela of Spanish origin. The sarsuwela in our setting is not only theater as entertainment and spectacle but theater as a community and expression of the Filipino soul and aspirations. Using the combined power of language and music as well as poetry and footwork, the Philippine sarsuwela continues to be relevant, intense, and resilient as a form of social commentary. Keywords: Sarsuwela, Zarzuela, social commentary, mass media, and theater Introduction It is a sad disservice that the term “zarzuela” is used not a few times in derogatory manner in the Philippines. Only recently a senior columnist in one of the national papers used “zarzuela” to refer to what he observed as public entertainment between a member of the Congress and the First Gentleman’s lawyer’s verbal tussle over the alleged multi-billion bank account stashed away abroad by the republic’s First Couple. Why the writer would parallel the antics of politicians to a national form of theater that enthralled audiences for centuries here and abroad reveals either a lack of knowledge, if not a blunt sensibility to the cultural development and history of the genre. On second thought however perhaps the scene is not so strange if we go back to an early accusation against the zarzuela: a “buffoonery” to the assessment of a sullen critic in 17th century Madrid because it lacked the exalted and serious form of the Italian opera patronized by the royal court and the elite in society.
    [Show full text]
  • Marking a Turn: Thoughts on a Generation of Philippine Scholarship
    Marking a Turn: Thoughts on a Generation of Philippine Scholarship Professor Resil B. Mojares f there is the sense that Philippine studies is taking political crisis was marked, for instance, by the vio- Ia “turn,” we have to ask where it has been before lent elections of 1969, regarded at the time as the asking where it is going. The question of where Filipi- most degraded and corrupt in Philippine history. no scholars have been came to me a few months Vicente Rafael calls this period “the long 1970s,” by ago when I was asked to write the introduction to a which he means the Marcos years, from 1965 to festschrift for the country’s leading theater scholar, 1986.2 The paradox of this period is that, beyond its Nicanor Tiongson (Chua et al. forthcoming). This re- political stereotyping as “the dark years of the dicta- minded me that we are indeed in a time of com- torship,” it is in fact one of the most intellectually memorations. This started sometime back, with the dynamic periods in Philippine history. One can cite festschrifts for William Henry Scott, Doreen Fernandez, several reasons for this: that the largely unprece- and Fr. John Schumacher, and it has ominously dented experience of martial rule (“the years of living heightened, with similar tributes to the contributions dangerously,” both in fantasy and reality) was not of scholars like Soledad Reyes and Isagani Cruz. just stultifying but mentally fertilizing as well; that And last year, Ateneo de Manila had commemorative Marcos was our most intellectually-minded president events
    [Show full text]
  • Sharon's Noranian Turn: Stardom, Embodiment, and Language in Philippine Cinema
    UC Irvine UC Irvine Previously Published Works Title Sharon’s Noranian Turn: Stardom, Embodiment, and Language in Philippine Cinema Permalink https://escholarship.org/uc/item/6867483k Journal Discourse, 31(3) Author Lim, Bliss Cua Publication Date 2009-10-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Sharon's Noranian Turn: Stardom, Embodiment, and Language in Philippine Cinema Bliss Cua Lim Discourse, Volume 31, Number 3, Fall 2009, pp. 318-358 (Article) Published by Wayne State University Press For additional information about this article http://muse.jhu.edu/journals/dis/summary/v031/31.3.lim01.html Access Provided by University of California @ Irvine at 11/09/10 7:10PM GMT Sharon’s Noranian Turn: Stardom, Embodiment, and Language in Philippine Cinema Bliss Cua Lim Writing in 1965 under the pseudonym Quijano de Manila, National Artist Nick Joaquin vividly describes an era when the decline of the great Philippine film studios spawned an unbridled “star system still in apogee.” In the 1960s, star worship fuels the popular cinema and feeds “the avarice of the independent producer.” The middle- class lament that mainstream Filipino movies are hardly “quality” pictures, Joaquin writes impatiently, misses the point: “The movie fans crowd to a local movie not because they expect a sensible story or expert acting or even good entertainment”; instead, they go to the movies to see the stars they adore—action film kings Fernando Poe Jr. and Joseph Estrada, glamour goddesses Amalia Fuentes and Susan Roces. “Our movie idols remain idolized, whatever the quality of their vehicles, as long as they remain impossibly young, impossibly glamorous, impossibly beautiful”1 (figure 1).
    [Show full text]
  • Film Industry Executive Summary
    An In-depth Study on the Film Industry In the Philippines Submitted by: Dr. Leonardo Garcia, Jr. Project Head and Ms. Carmelita Masigan Senior Researcher August 17, 2001 1 FILM INDUSTRY EXECUTIVE SUMMARY Movies are a powerful force in Philippine society. Movies, more than just a source of entertainment, reflect a nation’s personality. On the silver screen takes shape all the hopes, dreams and fantasies of the common man: legends, love, the stuff of myths and make believe. Its heroes become larger than life, often attaining the stature of demigods. They are looked upon as role models, serving as resources of inspiration. But most important, the movie industry has become a vital part of the national economy. The paper aims to define the industry and its structure, examine the laws that hinder or facilitate its growth as well as the existing associations and what they have done; look into the market potential of the film industry and its foreign market demand; examine supply capability; identify opportunities and threats confronting the industry; prepare an action plan to enhance competitiveness; and recommend a performance monitoring scheme. The film industry shows that its gross value added is growing faster than the gross domestic product and gross national product. In other words, the industry has a lot of potential to improve further through the years. Extent of growth of firms is primarily Metro-Manila based with Southern Tagalog as a far second. There is more investment in labor or manpower than capital expenditures based on the 1994 Census of Establishments. Motion picture also called film or movie is a series of still photographs on film, projected in rapid succession onto a screen by means of light.
    [Show full text]
  • Capital, Development, and Belonging in the Philippine Postcolony
    CAPITAL, DEVELOPMENT, AND BELONGING IN THE PHILIPPINE POSTCOLONY A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN POLITICAL SCIENCE AUGUST 2004 By Melisa S.L. Casumbal Thesis Committee: Michael Shapiro, Chairperson Kathy Ferguson S. Charusheela ©2004 Melisa S.L. Casumbal All rights reserved. 111 Carmelita San Luis Casumbal Roberto Reyes Casumbal IV ACKNOWLEDGEMENTS Sa aking mga ninuno - ako ay nagpupugay at nagpapasalamat. My deep admiration, respect and gratitude extend foremost to the professors on my thesis committee whose pedagogies, scholarship, mentoring, good humor, and radical politics have inspired me to continue pursuit ofa career in the academy, despite my better judgement. I am especially grateful to my committee chair, Michael Shapiro, for not only apprehending, but modeling, my weirdly discipline-transgressing interests, and for the consistency and generosity ofhis support. I am also deeply grateful to the more officially transdisciplinary (double-burdened) Women's Studies scholars on my committee, Kathy Ferguson and S. Charusheela. I thank them both for modeling feminist women kicking ass in what remain intensely masculinist fields (political science and economics, respectively). I owe a special debt to Cham, who pushed me in exactly the direction I needed to go at exactly the right time. Thank you, also, to the other professors whose formidable intellect and charm I have so greatly benefited from during my time at UH: Noenoe Silva, Nevi Soguk, Sankaran Krishna, Jon Goldberg-Hiller, Barbara Andaya, Ric Trimillos, Lindy Aquino, Ruth Mabanglo, Imelda Gasmen, and Sheila Zamar.
    [Show full text]
  • Philippine Gay Culture 39
    Philippine Gay Culture Binabae to Bakla Silahis to MSM J. Neil C. Garcia in association with The University of the Philippines Press Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Rd Aberdeen Hong Kong © J. Neil C. Garcia 1996, 2008, 2009 First published by The University of the Philippines Press in 1996, with a second edition in 2008 This edition published by Hong Kong University Press in association with The University of the Philippines Press in 2009 ISBN 978-962-209-985-2 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. www.hkupress.org secure on-line ordering Printed and bound by Liang Yu Printing Factory Co. Ltd., in Hong Kong, China Contents A Transgressive Reinscription ix Author’s Note for the Second Edition xi Preface xv Introduction 1 Part One Philippine Gay Culture 39 Chapter One 61 The Sixties Chapter Two 82 The Seventies Chapter Three 151 Precolonial Gender-Crossing and the Babaylan Chronicles Chapter Four 198 The Eighties Chapter Five 223 The Nineties Chapter Six 246 Prologue vii viii | Philippine Gay Culture Part Two The Early Gay Writers: Montano, Nadres, Perez 276 Chapter One 287 Where We Have Been: Severino Montano’s “The Lion and the Faun” Chapter Two 334 Orlando Nadres and the Politics of Homosexual Identity Chapter Three 361 Tony Perez’s Cubao 1980: The Tragedy of Homosexuality Conclusion 387 Philippine Gay Culture: 420 An Update and a Postcolonial Autocritique Notes 457 Bibliography 507 Index 527 Introduction That Philippine gay culture exists is an insight not very difficult to arrive at.
    [Show full text]
  • Hd-Sample Article
    SOCIAL SCIENCE DILIMAN (JANUARY-JUNE 2014) 10:1; 159-164 J.O.M. Salazar Review: Film A Question of Heroines Jaime Oscar M. Salazar De La Salle University Manila Ang Kababaihan ng Malolos (2014). 85 minutes. Color. Directed by Sari Dalena and Kiri Dalena. Written and produced by Nicanor Tiongson. Cinematography by Kiri Dalena. Starring Hazel Faith dela Cruz as Basilia Villariño Tantoco, Karl Medina as Jose Rizal, Bong Enriquez as Governor-General Valeriano Weyler, and Carlos Celdran as Fray Felipe Garcia. Edited by Keith Sicat and Joris Fernandez. Philippines: Ambassador Bienvenido R. Tantoco Sr. Official promotional photo of Ang Kababaihan ng Malolos. Photo by Kiri Dalena. Courtesy of the Women of Malolos Foundation, Inc. Used with permission. One evening, a young man approaches a bahay-na-bato into which he is politely admitted by a female servant. The servant announces the arrival of the visitor to the lady of the house, who sweeps into the room where the man is waiting and greets him with cheer, telling him to call her “Tiya” (Aunt) rather than “Lola” (Grandmother) Ilyang. After he courteously turns down her offers of refreshment, their conversation takes a serious turn. It is not until the screen of a tablet computer ISSN 1655-1524 Print / ISSN 2012-0796 Online 159 A Question of Heroines glowing in the young man’s hand is included in the frame that the viewer comes to realize that the unfolding scene is not, as the architecture, clothing, and customs betoken, set in the 19th century after all—at least not entirely. In this manner does Ang Kababaihan ng Malolos open.
    [Show full text]