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Women in Filipino Religion-Themed Films
Review of Women’s Studies 20 (1-2): 33-65 WOMEN IN FILIPINO RELIGION-THEMED FILMS Erika Jean Cabanawan Abstract This study looks at four Filipino films—Mga Mata ni Angelita, Himala, Ang Huling Birhen sa Lupa, Santa Santita—that are focused on the discourse of religiosity and featured a female protagonist who imbibes the image and role of a female deity. Using a feminist framework, it analyzes the subgenre’s connection and significance to the Filipino consciousness of a female God, and the imaging of the Filipino woman in the context of a hybrid religion. The study determines how religion is used in Philippine cinema, and whether or not it promotes enlightenment. The films’ heavy reference to religious and biblical images is also examined as strategies for myth-building. his study looks at the existence of Filipino films that are focused T on the discourse of religiosity, featuring a female protagonist who imbibes the image and assumes the role of a female deity. The films included are Mga Mata ni Angelita (The Eyes of Angelita, 1978, Lauro Pacheco), Himala (Miracle, 1982, Ishmael Bernal), Ang Huling Birhen sa Lupa (The Last Virgin, 2002, Joel Lamangan) and Santa Santita (Magdalena, 2004, Laurice Guillen). In the four narratives, the female protagonists eventually incur supernatural powers after a perceived apparition of the Virgin Mary or the image of the Virgin Mary, and incurring stigmata or the wounds of Christ. Using a feminist framework, this paper through textual analysis looks at the Filipino woman in this subgenre, as well as those images’ connection and significance to the Filipino consciousness of a female God. -
Contemporary Asian Art and Exhibitions Connectivities and World-Making
Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern . -
Special Issue on Film Criticism
semi-annual peer-reviewed international online journal VOL. 93 • NO. 1 • MAY 2020 of advanced research in literature, culture, and society UNITAS SPECIAL ISSUE ON FILM CRITICISM ISSN: 0041-7149 Indexed in the International Bibliography of the ISSN: 2619-7987 Modern Language Association of America About the Issue Cover From top to bottom: 1. Baconaua - One Big Fight Productions & Waning Crescent Arts (2017); 2. Respeto - Dogzilla, Arkeofilms, Cinemalaya, CMB Film Services, & This Side Up (2017); 3. Ebolusyon ng Isang Pamilyang Pilipino - Sine Olivia, Paul Tañedo Inc., & Ebolusyon Productions (2004); 4. Himala - Experimental Cinema of the Philippines (1982); and 5. That Thing Called Tadhana - Cinema One Originals, Epicmedia, Monoxide Works, & One Dash Zero Cinetools (2014). UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). UNITAS is published by the University of Santo Tomas, Manila, Philippines, the oldest university in Asia. It is hosted by the Department of Literature, with its editorial address at the Office of the Scholar-in-Residence under the auspices of the Faculty of Arts and Letters. Hard copies are printed on demand or in a limited edition. Copyright @ University of Santo Tomas Copyright The authors keep the copyright of their work in the interest of advancing knowl- edge but if it is reprinted, they are expected to acknowledge its initial publication in UNITAS. Although downloading and printing of the articles are allowed, users are urged to contact UNITAS if reproduction is intended for non-individual and non-commercial purposes. Reproduction of copies for fair use, i.e., for instruction in schools, colleges and universities, is allowed as long as only the exact number of copies needed for class use is reproduced. -
Footnotes to Empire: Imaginary Borders and Colonial Ambivalence
Footnotes to Empire: Imaginary Borders and Colonial Ambivalence The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39987977 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Footnotes to Empire: Imaginary Borders and Colonial Ambivalence A dissertation presented by Ernest Rafael Hartwell to The Department of Romance Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Romance Languages and Literatures Harvard University Cambridge, MA September 2017 © 2017 Ernest Rafael Hartwell All rights reserved. ! Dissertation advisor: Professor Doris Sommer Ernest Rafael Hartwell Footnotes to Empire: Imaginary Borders and Colonial Ambivalence Abstract While other regions colonized by Spain achieved independence in the first half of the 19th century, Puerto Rico, Cuba, and the Philippines remained under Spanish imperial rule until 1898. Nearly all research about Latin American literature of this era focuses on writers who embraced their freedom by articulating new communities through novels and essays that openly elected and erected national patrimonies and mythologies. 19th-century writers from Spain’s late colonies, however, had to reflect on their communities and prospects of nationhood through texts rife with subterfuge and dangerous supplements. They had to install their voices, both literally and figuratively, into the history of nationhood through the footnotes. -
GUEST of HONOR and SPEAKER the ROTARY CLUB of MANILA BOARD of DIRECTORS and Executive Officers 2017-2018
1 Official Newsletter of Rotary Club of Manila 0 balita No. 3727, January 18, 2018 GUEST OF HONOR AND SPEAKER THE ROTARY CLUB OF MANILA BOARD OF DIRECTORS and Executive Officers 2017-2018 JIMMIE POLICARPIO President TEDDY OCAMPO Immediate Past President CHITO ZALDARRIAGA Vice President BOBBY JOSEPH ISSAM ELDEBS LANCE MASTERS CALOY REYES SUSING PINEDA ART LOPEZ Directors ALVIN LACAMBACAL Secretary NICKY VILLASEÑOR Treasurer DAVE REYNOLDS What’s Inside Sergeant-At-Arms Program 2 AMADING VALDEZ Presidential Timeline 3-4 Guest of Honor and Speaker’s Profile 5-7 Board Legal Adviser Preview of Forthcoming Guest Speakers 8 The Week that Was 9-14 RENE POLICARPIO International Relations 15 Sunshine Visit 16 Assistant Secretary Centennial News 17 International Assembly 17-26 Rotary International News 27-28 NER LONZAGA One Rotary One Philippines One for Marawi 29-31 JIM CHUA In Memoriam ` 32 Assistant Treasurer Centennial News 33 Viber Group Use Guideline 34-35 Speakers Bureau 36 BOLLIE BOLTON News Release 37-38 Deputy Sgt-at-Arms Public Health Nutrition and Child Care 39 Advertisement 40-43 Secretariat ANNA KUN TOLEDO Executive Secretary 2 PROGRAM RCM’S 26th for Rotary Year 2017-2018 January 18, 2018, Thursday, 12Noon, New World Makati Hotel Ballroom Officer-In-Charge/ Program Moderator : AS Rene Policarpio P R O G R A M TIMETABLE 11:30 AM Registration & Cocktails (WINES courtesy of RCM DE/Dir. Bobby Joseph) 12:25 PM Bell to be Rung: Members and Guests are requested to be seated by OIC/Moderator : AS Rene Policarpio 12:30 PM Call to Order Pres. Jimmie Policarpio Singing of the Republic of the Philippines National Anthem RCM WF Music Chorale Invocation Rtn. -
FOURTEENTH CONGRESS of the Republrc SENATE S.B. 163 7
FOURTEENTH CONGRESS OF THE REpuBLrc / ,-!r.; .... OF THE PHILIPPINES .. i:.i First Regular Session SENATE S.B. 1637 Introduced by Senator Villar Explanatow Note I am a firm believer of Cine Filipino and I look forward to the day the Philippines wins an Oscar. This legislation is humble recommendation to enact a statute that will enhance and promote the dynamism of Philippine motion picture. It is aimed at encouraging the production of relevant films for a globally competitive cine Filipino. Likewise, this bill recognizes the achievements of actors who are all contributing to the propagation of the nation’s artistic heritage. The last few years have witnessed the resurgence of Filipino cinema to prominence. Excellent films and a corps of competent actors are winning laurels for the country. National Artist Lambert0 Avellana honoured the Philippines by winning its first Best Film prize in the Asia-Pacific Film Festival for Anak Dalita in 1956. It equaled the outstanding feat of Genghis Khan which was the fmt Filipino to be exhibited in Cues Film Festival in 1952. The decade of 1970s signaled the golden age of Filipino cinema. The great auteur Lino Brocka and realist Ishmael Bernal marshaled the exposition of cine Filipino in the Director’s Fortnight in Cannes, Berlinale, Montreal and San Sebastian Film Festivals, among others. Brocka’s ‘Ynsiang”, “Jaguar’: “Bona” and “Bayan KO: Kapit sa Patalim”; and Bernal’s “Himala“ and “Manila By Night: City After Dark” are hallmarks of the era. Of recent, both mainstream and independent films are boosting the country’s pride: “MagniJico”, “Ang Munting Tinig”, “Maxim0 Oliveros”, “Crying Ladies”, “Kubrador”, and “Mmahista”, among others. -
Fifteenth Congress of the Republic of the Philippines
j, FIFTEENTH CONGRESS OF THE ) REPUBLIC OF THE PHILIPPINES ) First Regular Session ) SENAfl S.B. No. '147 INTRODUCED BY SEN. MANNY VILLAR EXPLANATORY NOTE I am a firm believer of Cine Filipino and I look forward to the day the Philippines wins an Oscar. This legislation is humble recommendation to enact a statute that will enhance and promote the dynamism of Philippine motion picture. It is aimed at encouraging the production of relevant films for a globally competitive cine Filipino. Likewise, this bill recognizes the achievements of actors who are all contributing to the propagation of the nation's artistic heritage. The last few years have witnessed the resurgence of Filipino cinema to prominence. Excellent films and a corps of competent actors are winning laurels for the country. National Artist Lamberto Avellana honoured the Philippines by winning its first Best Film prize in the Asia-Pacific Film Festival for Anak Dalita in 1956. It equaled the outstanding feat of Genghis Khan which was the first Filipino to be exhibited in Cannes Film Festival in 1952. The decade of 1970s signaled the golden age of Filipino cinema. The great auteur Lino Brocka and realist Ishmael Bernal marshaled the exposition of cine Filipino in the Director's Fortnight in Cannes, Berlinale, Montreal and San Sebastian Film Festivals, among others. Brocka's 'Ynsiang", "Jaguar': "Bona" and "Bayan Ko: Kapit sa Patalim"; and Bernal's "Himala" and "Manila By Night: City After Dark" are hallmarks of the era. Of recent, both mainstream and independent films are boosting the country's pride: "Magnifico" , "Ang Munting Tinig", "Maximo Oliveros", "Crying Ladies", "Kubrador", and "Masahista ", among others. -
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). -
Sight & Sound Annual Index 2017
THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S. -
Lav Diaz.Pdf
Lying Down In A World Of Tempest Lav Diaz I Alexis Tioseco Over and above describing himself as a filmmaker, Lav Diaz prefers the definition Indictment And Empowerment Of The Individual: of “cultural worker”. Driven by a sense of political engagement, he has denounced The Modern Cinema Of Lav Diaz the series of miseries suffered by the Philippines since the time of Spanish coloni- – p. 5 alism (followed by occupations by both the Japanese and the Americans, as well as a period of martial law), focusing particularly on the years of the Marcos dictator- II Alexis Tioseco In Conversation With Lav Diaz ship. It is a feeling of love for his compatriots and their suffering that pushed him to – p. 11 depict, with a beauty and sense of urgency rarely found in cinema, the daily grind of life in small towns and in the countryside. III Lav Diaz Yet the lengthy, majestic black-and-white frescoes, lasting anywhere between The Aesthetic Challenge Of ‘Batang West Side’ 4 and 11 hours, which brought him to notice on the festival circuit, surely cannot be – p. 37 restricted to kinship with the Slow Cinema movement. Characterised by a radical formalism, his cinematic approach is to recount the life and rhythm of his commu- IV Lav Diaz nity by means of the suffering and slowness that define it. It is for these reasons that Our Death, In Memoriam Lav Diaz can be seen as a major artist for our times: his cinema is that of a peda- – p. 41 gogue—something shared here with that of his intellectual, idealistic father and, still more, with Lino Brocka whose wish it was “to educate his people”—as well V Lav Diaz as bearing essential witness. -
He Oldest Award Giving Body in the Philippines Was the Filipino Academy of Movie Arts and Sciences Simply Called FAMAS
Figure 1: Best Actress from FAMAS, Gawad Urian, Film Academy of the Philippines, and CMMA he oldest award giving body in the Philippines was the Filipino Academy of Movie Arts and Sciences simply called FAMAS. It was launch two years after the Maria Clara awards folded in 1951. FAMAS shared the same name with the American film academy; AMPAS until the later complained and the Filipino organization have to change theirs into the current acronym. FAMAS created a history of controversies throughout their more than sixty years in award-giving business mostly due to their questionable selection of winners. In 2006, FAMAS experienced another setback when two groups divided the organization due to a controversial election of its officers. As the legal battle settled, the battling groups decided to just hand out their own awards, one used the name FAMAS and the other the Maria Clara Awards. Like its infancy, the Maria Clara Awards did not reach its maturity and died the second time. This is not the first time FAMAS experience disgruntled “break-away” members forming their own award. Prior to 1976, FAMAS retained their status as the most prestigious recognition a Filipino actor could have. Charito Solis, who won best actress at the Asian Film Festival in 1967 used to proudly bring her FAMAS trophies on the film set to intimidate starlets and to instigate professionalism. The breakaway group of critics wish to distinguish themselves from FAMAS by successfully branded their award as not for actors who overtly act in films, they catered to the ones who are restrained and controlled. -
Mga Turo Ng Mga Pangulo Ng Simbahan Spencer W
MGA TURO NG MGA PANGULO NG SIMBAHAN SPENCER W. K IMBALL MGA TURO NG MGA PANGULO NG SIMBAHAN: SPENCER W.KIMBALL Inilathala ng Ang Simbahan ni Jesucristo ng mga Banal sa mga Huling Araw Salt Lake City, Utah Ang inyong mga puna at mungkahi tungkol sa aklat na ito ay lubos na pasasalamatan. Mangyaring ipadala ang mga ito sa Curriculum Development, 50 East North Temple Street, Room 2420, Salt Lake City, UT 84150-3220 USA. E-mail: [email protected] Isulat lamang ang inyong pangalan, tirahan, ward, at stake. Tiyaking ibigay ang pamagat ng aklat. Pagkatapos ay ibigay ang inyong mga puna at mungkahi tungkol sa mga kahusayan ng aklat at ang mga puntong maaari pang pagandahin. © 2006 ng Intellectual Reserve, Inc. Lahat ng karapatan ay nakalaan. Inilimbag sa Estados Unidos ng Amerika Pagsang-ayon sa Ingles: 8/00 Pagsang-ayon sa pagsasalin: 8/00 Pagsasalin ng Teachings of Presidents of the Church: Spencer W. Kimball Tagalog Mga Nilalaman Pamagat Pahina Panimula . vii Buod ng Kasaysayan . xiii Ang Buhay at Ministeryo ni Spencer W. Kimball . xvii 1 “Nang S’ya’y Makapiling” . 1 2 Trahedya o Tadhana? . 13 3 Jesucristo: Aking Tagapagligtas, Aking Panginoon . 27 4 Ang Himala ng Pagpapatawad . 42 5 Panalangin, ang Pasaporte sa Espirituwal na Kapangyarihan . 57 6 Sariling Pagtuklas sa mga Banal na Kasulatan. 74 7 Personal na Patotoo. 86 8 Di-makasariling Paglilingkod . 97 9 Buong Pusong Pagpapatawad sa Iba . 109 10 Pagpapatatag sa Ating Sarili Laban sa Masasamang Impluwensya . 124 11 Masinop na Pamumuhay: Pagsunod sa mga Alituntunin ng Pagtayo sa Sariling mga Paa at Kahandaan .