Jasmine Nadua Trice examines the politics of cinema circulation in early-2000s Manila, showing how the rising independent Philippine cinema movement has been a site of contestation between filmmakers and the state, each constructing different notions of a prospective, national public film audience.
Jasmine Nadua Trice examines the politics of cinema circulation in early-2000s Manila, showing how the rising independent Philippine cinema movement has been a site of contestation between filmmakers and the state, each constructing different notions of a prospective, national public film audience.
Jasmine Nadua Trice is Assistant Professor of Cinema and Media Studies at the University of California, Los Angeles.
Inhaltsangabe
Acknowledgments ix Introduction 1 1. Revanchist Cinemas and Bad Audiences, Multiplex Fiestas and Ideal Publics 39 2. The Quiapo Cinematheque and Urban-Cinematic Authenticity 79 3. Alternative Exhibition and the Rhythms of the City 113 4. "Not for Public Exhibition": Cinema Regulation, Alternative Cinema, and a Rational Body Politic 153 5. "Hollywood Is Not Us": National Circulation and the Speculative State 189 Epilogue 230 Notes 241 Bibliography 281 Index 299
Acknowledgments ix Introduction 1 1. Revanchist Cinemas and Bad Audiences, Multiplex Fiestas and Ideal Publics 39 2. The Quiapo Cinematheque and Urban-Cinematic Authenticity 79 3. Alternative Exhibition and the Rhythms of the City 113 4. "Not for Public Exhibition": Cinema Regulation, Alternative Cinema, and a Rational Body Politic 153 5. "Hollywood Is Not Us": National Circulation and the Speculative State 189 Epilogue 230 Notes 241 Bibliography 281 Index 299
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