Suchergebnisse

1. Indigenous Media and Popular Culture Studies in the Philippines -- Part I. The indigenous in contemporary regional films -- 2. Negotiations on Necropolitics and Death in the Cinema on the Indigenous Peoples of Mindanao -- 3. Distress in the Agusan Marshlands: Mapping Landscapes of Fear In Francis Xavier Pasion's Bwaya (2014) -- Part II. Self representation, resistance, and counternarratives -- 4. Igorot Self-Representation in The #Proud_To_Be_An_Igorot_Challenge on Facebook -- 5. Contemporary Vernacular Music Broadcasting and Indigenous Cultural Mediation in Baguio City, Philippines -- 6. Reflexive Performance in Digital Spaces as Cultural Agency among the Manobo-Pulanguiyen -- 7. Reframing and Reclaiming Kulintang Music: Countering Written History with Contemporary Reality -- Part III. Configurations of space, values, and histories -- 8. When Lumad Youth (Re)write the Indigenous and The Juvenile: Constructiveness In Children's Books told by Children -- 9. Lumad Indigenous Values and Voices in Citizen and Alternative News -- 10. The Redness of Balitok in Ibaloy Folklore and Literature -- 11. Space, Memory, and the Right to be Remembered: The Case of the Heroes' Monument of the Butbut Tribe in Kalinga Province.

The local film production industries in the Philippine Cordillera region have been thriving since the 1980s. In Baguio City, Benguet, and Mountain Province, local filmmakers have already produced various cinematic forms such as documentary films, feature (short and full length) films, music videos, and animated films for various purposes. Utilizing political economy of media as a framework, this paper provides a preliminary exploration of the processes involved in the local production of those types of films in Baguio, Benguet, and Mountain Province. It also discusses the motivations and constraints that influence or inform the decisions and activities of local filmmakers in terms of content and production.

ABSTRACT
The indigenous groups in Benguet, Philippines, have begun to produce their own music videos and other media products to express themselves and to correct ill-informed portrayals about them. Through such, they have achieved self-representation by textualizing their cultures and worldviews, including their perspectives on the natural world and its ideal state. Employing a textual analysis that is grounded on the concepts of postcolonial appropriation and Ginsburg et al.'s "screen memories," this article discusses how two indigenous-produced music videos, which tackle the environment, represent their imaginations of an ecotopia. These, once recognized in environmental discourse, would ideally result in the formulation of more effective, cost-efficient, and socially just environmental plans and practices. As the world clamors for a sustainable and more ideal state of the planet, exploring indigenous perspectives on an ecotopia could be beneficial, as they may provide legitimate, ethical, and context-appropriate alternatives that have been neglected due to "othering."

Chapter 1. Introduction: Ecologies of Southeast Asian Media and Popular Culture (Jason Paolo Telles) -- Part 1. Activism, Environment, and Indigeneity -- Chapter 2.Sons of Soil: Reconstituting Bumiputeraism Indigeneity, Tanah Melayu, and Tanah Adat Orang Asli (Yvonne Tan) -- Chapter 3. Reading the Novel Sarongge through the Eyes of Female Environmental Activists in Indonesia (Meredian Alam) -- Chapter 4. Nguyen Trinh Thi's Ecocinema: An Artistic Response to Environmental Problems in Vietnam (Tran Ngoc Hieu) -- Chapter 5. Vietnamese Cinema and Ecological Issues: The Story of Pao and Black Forest (Lê Thị Dương) -- Chapter 6. "Greatest Prodigy of the Vegetable World:" The Mediation of Rafflesia, the Corpse Flower of Southeast Asia (John Charles Ryan) -- Part 2. Political Ecologies and Urban Spaces -- Chapter 7. The Nightcrawlers and the Optics of Death: Documenting Duterte's Necro-Politics (Jose Kervin Calabias) -- Chapter 8. Intervening in the Indonesian Election through Ecodocumentary: The Case of Sexy Killers (Agung Wardana) -- Chapter 9. The Village as a Space of Rights: The Political Ecology of Mangroves and Fish Farming in an Island Village in Central Philippines (Eulalio Guieb) -- Chapter 10. The West Philippine Sea Dispute and Memefied Fish on Facebook (Jason Paolo Telles) -- Chapter 11. Telegraphic Poetics in Anxiety Myths by Afrizal Malna: Re-envisioning Human Interconnection with Material Ambience in the Digital Millennium (Henrikus Joko Yulianto) -- Part 3. Narratives, Discourses, and Aesthetics -- Chapter 12. Against DomiNation: Intersectional Aesthetics in U. Raksasad's Fictional Documentary Agrarian Utopia (Natalie Boheler) -- Chapter 13. The Littoral Zone as Guerilla Zone: The Hydroaesthetics of Revolutionary Music for Filipino Fisherfolk (Jose Monfred Sy) -- Chapter 14. Maps and Shifting Power Relations in the Mekong Delta Region (Tami Banh) -- Chapter 15. The Trend of "Movies as Tourism Promotion:" From Picturesque Landscapes to Eco-Consciousness (Hoang Cam Giang) -- Chapter 16. The Reporting of Climate-Related News by the National Broadcast Media of Brunei Darussalam (Sharifah Nurulhuda Alkaff) -- Chapter 17.Ecocentric Underpinnings in the My Village Children's TV Program in Laos (Jason Paolo Telles) -- Part 4. Imperialism, Nationalism, and Islands -- Chapter 18. Singapore, Colonialism, and the Environment (Marcella Polain) -- Chapter 19. Archipelagic Choreography: Movement and Intertwining Bodies in Emiliana Kampilan's Dead Balagtas (Maria Karaan) -- Chapter 20. National Properties, National Ecologies: Postcolonial and Ecocritical Engagements with Mikhail Red's Birdshot (2016) (Trish Remetir) -- Chapter 21. Wild Honey: Caring for Bees in a Divided Land (Balthasar Kehi) -- Chapter 22. Slow Cinema, Filipino Epistemology, and Nature in Lav Diaz's From What Is Before (Stefan Torralba) -- Chapter 23. Escaping Paradise, Returning this Island: Examining Representations of Siargao and Islandic Space (Leonard Thomas Shaw).