Suchergebnisse

This essay attempts to construct and deconstruct the discourses of "nation" (bayan) and "region" (rehiyon) vis-à-vis "aswang" and "tama(w)o" embedded in the films of Negrense filmmaker Richard Somes – "Lihim ng San Joaquin" from Shake, Rattle, and Roll 2k5 (Monteverde, Monteverde, & Somes, 2005), Yanggaw (Arguelles, Montelibano, Montelibano, & Somes, 2008), "Tamawo" from Shake, Rattle, and Roll 13 (Monteverde, Monteverde, & Somes, 2011), and Corazon: Ang Unang Aswang (Calmerin, Kintanar, Samson-Martinez, & Somes, 2012). Using the horror genre, the four films present the quotidian lives from the nation's peripheries through the depiction of the antagonized "indigenous belief systems," imagined backward-ness of the bucolic landscape, and oppressive hacienda systems. These spatio-temporal dispositifs are deemed to result in the contested processes of the dichotomy and vicissitudes between rural and urban, margin and center, Self and Other, and nation and region. Finally, by considering Somes's films as "filmic folklore," the essay tries to configure and reconfigure the folk creatures "aswang" and "tama(w)o" as cornucopia and articulations of regional and national "history of emotions."

In contemporary Philippine society, homosexuals are discriminated against and viewed as a comedic symbols. This is in contrast to the accounts of Philippine history which feature a wealth of tales and lore that depict homosexuals as an accepted part of the society. This paper introduces an anthropological and cultural study on the history of homosexuals from the precolonial to contemporary Philippines. It analyzes the influence of colonizers in the modern perception of homosexuals in the media today.The paper traces the early experiences and portrayals of homosexuals in the confesionarios, diccionarios, guidelines, and manuals of Spanish missionaries. These experiences and portrayals are compared to the contemporary guidelines set forth by the Movie and Television Classification and Review Board (MTRCB). In the end, this paper aims to eradicate the misconception about the modern bakla and present more of their richer traditions as asog, bayoguin, and binabayi.

Ang sanaysay na ito ay umiinog sa diskurso ng ekokritisismo bilang balangkas sa pag-unawa ng pelikulang katatakutan sa Pilipinas. Sinusuri nito ang 10 episodyo mula sa serye ng Shake, Rattle, and Roll (SRR) na nagtatampok sa antagonistiko at nakatatakot na imahen ng "engkanto." Sa kakaunting tala mula prekolonyal hanggang kolonyal na pagharaya sa kahulugan at talinghaga na nakalakip sa nilalang na "engkanto"—mula sa katutubong bakas patungo sa pananaw na maka-Europeo—sisikapin ng sanaysay na bigyan ng pansin ang kultural, ekonomiko, at politikal na karanasan ng mga espasyong pinamamalagian ng engkanto: gubat, tubig, at siyudad. Ang konstelasyon ng tatlong sinematikong espasyo na ito ay maaaring tumunghay sa mga kakabit nitong heograpikal na politika sa sistema ng hacienda, teritoryong pangkatubigan, at suburbanisasyon. Gamit ang ilang antropolohikal at pangkasaysayang kuwardo at lente bilang tuntungan, susubukan ng sanaysay na suriin ang naratibo ng mga episodyo ng SRR at ang kaugnayan nito sa mga agam-agam at lagim ng bansa. Bilang panghuli, nilalayon ng sanaysay na makapagbigay ng makabagong pagsipat sa ekokritisismo na lagpas sa kolonyal na pagharaya kundi nakasandig sa postkolonyal na dalumat na maaaring igibin sa balon ng danas at realidad ng Pilipinas.

In contemporary Philippine society, homosexuals are discriminated against and viewed as a comedic symbols. This is in contrast to the accounts of Philippine history which feature a wealth of tales and lore that depict homosexuals as an accepted part of the society. This paper introduces an anthropological and cultural study on the history of homosexuals from the precolonial to contemporary Philippines. it analyzes the influence of colonizers in the modern perception of homosexuals in the media today.The paper traces the early experiences and portrayals of homosexuals in the confesionarios, diccionarios, guidelines, and manuals of spanish missionaries. These experiences and portrayals are compared to the contemporary guidelines set forth by the Movie and Television Classification and review Board (MTrCB). in the end, this paper aims to eradicate the misconception about the modern bakla and present more of their richer traditions as asog, bayoguin, and binabayi.