Term | Value | Language |
---|---|---|
dc.contributor.advisor | Gopal, Sangita | |
dc.contributor.author | Garcia, Rogelio Jr | |
dc.date.accessioned | 2021-09-13T19:01:46Z | |
dc.date.issued | 2021-09-13 | |
dc.identifier.uri | https://scholarsbank.uoregon.edu/xmlui/handle/1794/26713 | |
dc.description.abstract | This dissertation argues that the multiple temporalities of the subaltern, the indigenous, and the Anthropocene operate as critique against the homogenous developmental time of the postcolonial nation as constructed by the contemporary independent cinema of the Philippines. It maintains that the nation-form is fundamentally broken by proposing analytic models called auto-critiques of modernity namely, persistence, autonomy, fluidity, and transcendence. Persistence interrogates the nation-form as a force of death when imagined as closed, unified, and homogenous in Mula sa Kung Ano ang Noon (2014) by Lav Diaz. The Diaz shot is a critique to the imperialism of mainstream cinema and isomorphic to the nation-form in its triadic structure of nation-space, national temporality, and laboring subaltern bodies persisting in the state of bare life. Autonomy asserts an inner sovereignty of land-based indigenous peoples within the geo-political power of the nation-state. It establishes Manoro (2006) by Brillante Mendoza as an ecofilm that brings together environmental, racial, and indigenous issues and calls for the scholarly recognition and circulation of ecocinema as a genre in Philippine cinema. Fluidity expands the optics of the nation-state to recognize indigeneity that is anchored on water in Brillante Mendoza’s Thy Womb (2012). This chapter proposes the concept of littoral sovereignty to acknowledge the fluid ways in which indigenous peoples who live on water maintain cultural and political sovereignty over the coastal zones and seas which they navigate as their cosmos. It problematizes the abjection of the Badjao as the ultimate enactment of self-sovereignty and agency. Transcendence refers to the rupture of the nation-state due to climate catastrophes in Lav Diaz’s Storm Children (2014). This chapter argues that climate catastrophes create ahistorical subjects through a scalar trauma that disrupts the temporality of national subjects and reorganizes it to a new temporality built around trauma as its point of reference. It problematizes the Anthropocene as an issue of power differentials and reads Storm Children as an installation which transfixes the spectator through the extreme long take and single-camera technique in the new geographical coordinates of the trauma field. | en_US |
dc.language.iso | en_US | |
dc.publisher | University of Oregon | |
dc.rights | All Rights Reserved. | |
dc.subject | Anthropocene | en_US |
dc.subject | ecocinema | en_US |
dc.subject | Global South film | en_US |
dc.subject | indigeneity | en_US |
dc.subject | Philippine cinema | en_US |
dc.subject | polytemporality | en_US |
dc.title | The End of Modernity: Temporalities of Nation, Indigeneity, and the Anthropocene in the Contemporary Independent Cinema of the Philippines | |
dc.type | Electronic Thesis or Dissertation | |
dc.description.embargo | 2022-08-27 | |
thesis.degree.name | Ph.D. | |
thesis.degree.level | doctoral | |
thesis.degree.discipline | Department of English | |
thesis.degree.grantor | University of Oregon |