| dc.contributor.author |
Deyto, Jeffrey |
|
| dc.date.accessioned |
2020-02-24T16:14:00Z |
|
| dc.date.available |
2020-02-24T16:14:00Z |
|
| dc.date.issued |
2018 |
en_US |
| dc.identifier.uri |
https://hdl.handle.net/10535/10711 |
|
| dc.description.abstract |
"This study seeks to define the role of cinema in the formation/construction of the nation amidst the acceleration of global capital and the heightened need for outsourced and remotely-managed workers (both were manifested to the fruition of the BPO industry) in the earlier part of 2010s – both of which are supported by the intensification of the liberal economics and politics of the then administration of Benigno Aquino, III. Cinema is not referred in this study as a general aspect of nation-formation/construction, but rather a node from a wide network of apparatuses deployed to support and maintain the nation and subjects that were continually produced/reproduced. Jonathan Beller referred to this network of apparatuses as the World-Media System which, for him, is also a 'dominant network of abstractions that would organize all social processes in the service of capital.' The study aims to arrive at the kind of nation formed/constructed by these setting through the subjects produced by the World-Media System. The nation, as Kojin Karatani would stress coming from Benedict Anderson, is imagined through a certain mode of exchange. Karatani, however, would like to think of another kind of exchange than commodity-exchange. This study would depart from that notion considering the differences of historical developments between the global north and south: between the historical developments of former colonizers and former colonies. It is concluded in this study that the kind of subjects produced / reproduced by the WorldMedia System in the Philippines in 2010- 2016 reflects much of the liberalist economics and politics of the then administration. These subjects produced, which I would later identify as the modern cynic, constitute a wider aspect of the definition of the nation." |
en_US |
| dc.language |
English |
en_US |
| dc.subject |
media |
en_US |
| dc.subject |
film |
en_US |
| dc.subject.classification |
Media |
en_US |
| dc.title |
The Years of Permanent Midnight: The Liberalist Construction of the Philippine Nation in Cinema under the US-Aquino Administration |
en_US |
| dc.type |
Journal Article |
en_US |
| dc.type.published |
published |
en_US |
| dc.type.methodology |
Qualitative |
en_US |
| dc.publisher.workingpaperseries |
Polytechnic University of the Philippines |
en_US |
| dc.coverage.region |
East Asia |
en_US |
| dc.coverage.country |
Philippines |
en_US |
| dc.subject.sector |
Theory |
en_US |
| dc.identifier.citationjournal |
Mabini Review |
en_US |
| dc.identifier.citationvolume |
7 |
en_US |