“Beyond brandishing Cinemalaya’s accomplishments, this book is also a tribute to the Filipino indie filmmaker who is at the core of our raison d’être. The success of Cinemalaya is undoubtedly due to the 165 filmmakers who for the past ten editions of the competition and festival produced quality films that have broken the boundaries of filmmaking in the country.” — Nestor O. Jardin, President Cinemalaya Foundation, Inc.
In The Movies of Racial Childhoods Celine Parreñas Shimizu examines early twenty-first-century cinematic representations of Asian and Asian American children. Drawing on psychoanalysis and her own perspective as a mother grieving for a deceased child, Shimizu considers how cinema renders Asian American children through sexualized racial difference, infantilization, and premature adultification. She looks at how Asian American childhood is characterized in film through experiences of alienation and trauma and contends that childhood development requires finding freedom and self-sovereignty through agentic attunement. In analyzing films that focus on queer Asian American youth such as Spa Night (2016) and Driveways (2019) and those that explore the trauma of being an immigrant like Yellow Rose (2019) and The Half of It (2020), Shimizu demonstrates that films can prompt viewers to evaluate their own childhood development. They also allow the opportunity to understand the demands placed upon Asian American children, particularly in regard to race and sexuality. In this way, cinema becomes a vehicle for empowering our inner child and the children all around us.
This book features the proceedings of the Fifth International Conference on Computational Science and Technology 2018 (ICCST2018), held in Kota Kinabalu, Malaysia, on 29–30 August 2018. Of interest to practitioners and researchers, it presents exciting advances in computational techniques and solutions in this area. It also identifies emerging issues to help shape future research directions and enable industrial users to apply cutting-edge, large-scale and high-performance computational methods.
In City of Screens Jasmine Nadua Trice examines the politics of cinema circulation in early-2000s Manila. She traces Manila's cinema landscape by focusing on the primary locations of film exhibition and distribution: the pirated DVD district, mall multiplexes, art-house cinemas, the university film institute, and state-sponsored cinematheques. In the wake of digital media piracy and the decline of the local commercial film industry, the rising independent cinema movement has been a site of contestation between filmmakers and the state, each constructing different notions of a prospective, national public film audience. Discourses around audiences become more salient given that films by independent Philippine filmmakers are seldom screened to domestic audiences, despite their international success. City of Screens provides a deeper understanding of the debates about the competing roles of the film industry, the public, and the state in national culture in the Philippines and beyond.
This book explores the complex interplay of culture and economics in the context of Philippine cinema. It delves into the tension, interaction, and shifting movements between mainstream and independent filmmaking, examines the film distribution and exhibition systems, and investigates how existing business practices affect the sustainability of the independent sector. This book addresses the lack or absence of Asian representation in film distribution literature by supplying the much-needed Asian context and case study. It also advances the discourse of film distribution economy by expounding on the formal and semi-formal film distribution practices in a developing Asian country like the Philippines, where the thriving piracy culture is considered as ‘normal,’ and which is commonly depicted and discussed in existing literature. As such, this will be the first book that looks into the specifics of the Philippine film distribution and exhibition system and provides a historical grounding of its practices.
Award-winning Philippine Daily Inquirer columnist Ruben Nepales interviews Filipino Americans and Filipinos in America who have made it big in the Hollywood scene and beyond: actors Bernardo Bernardo, Alec Mapa, Vanessa Hudgens, Hailee Steinfeld, and Anna Maria Perez de Tagle, singers Charice Pempengco, Luisa Mendez-Marshall, and Charmaine Clamor, TV star Darren Criss, model-actress Bessie Badilla, film production insiders Maricel Pagulayan and Isabel Henderson, cinematographer Matthew Libatique, animators Gini Santos, John Butiu Ronnie del Carmen and Ricky Nierva, filmmaker Ramona Diaz, comic-book illustrator Tony DeZuniga, YouTube sensation Mikey Bustos, and White House executive chef Cristeta Comerford.
Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major figures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Through a critical investigation of specific genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.
Karl De Mesa's Radiant Void is a collection of engaging and observant reportage and journalism on Philippine popular culture, from indie music, the comedy of Michael V, the rise of sleeping disorders among call center agents, to the rise of MMA in the Philippines."e;If there is one thing that's enviable in Karl De Mesa's writing, it's his sense of restlessness. Coupled with a zeitgeisty sense of phraseology and a penchant for the grotesque, this agitation-encapsulated in spitfire Hunter S. Thompson-vibe notes on a sort of continuing present-day doomsday (a socio-cultural doomsday, if you may)-is even more marked, even more gripping than in his already-golden fiction. I say this because, shit, what's more terrifying than the real world? In Report From the Abyss, De Mesa respects his subjects enough to offer himself up to a sort of voluntary drowning, a drowning in worlds not entirely his, an unwelcome, chest-thumping guest so snarky in prosody and observation-nay, journalism-that these very worlds are shaken, momentarily plucked from their otherwise steady orbits."e; - ALDUS SANTOS, Author of Vocalese (Poems) and Repeat While Fading"e;Karl R. De Mesa's writing is like a Mac running on a multi-core-fast, gripping and smooth. The only choking that happens is the one you feel at the base of your throat after reading it."e; - ISHA, movie soundtrack scorer, folk-jazz singer"e;Philippine culture is not a melting pot, as Karl De Mesa makes clear in this engaging set of essays on the rich smorgasbord that comprises the country. There are pop culture icons here, but also underground heroes, contemporary babes (Marian and Solenn), and discerning pieces on how "e;Jingle Magazine"e; and a defunct rock club shaped much of today's music culture without most of today fans knowing it. Then there's the reportage about deadly family feuds in Mindanao and sleepless call center agents, and you begin to wonder, all this in the same country? The flip side of disunity is diversity, and it takes a writer of Karl De Mesa's versatility to capture it in all its riotous glory."e; - HOWIE SEVERINO, news anchor, journo icon
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