Drawing on cultural policy, queer and feminist theory, materialist media studies, and postcolonial historiography, Bliss Cua Lim analyzes the crisis-ridden history of Philippine film archivingâ a history of lost films, limited access, and collapsed archives.
Drawing on cultural policy, queer and feminist theory, materialist media studies, and postcolonial historiography, Bliss Cua Lim analyzes the crisis-ridden history of Philippine film archivingâ a history of lost films, limited access, and collapsed archives.
Bliss Cua Lim is Professor of Cinema Studies at the University of Toronto and the author of Translating Time: Cinema, the Fantastic, and Temporal Critique, also published by Duke University Press.
Inhaltsangabe
Acronyms ix Acknowledgments xi Introduction. Keywords for Philippine Cinema’s Archival Afterlives 1 1. A Tale of Three Buildings: Marcos Cultural Policy and Anarchival Temporality 51 2. Silence, Perseverance, and Survival in State-Run Philippine Film Archives 76 3. Privatization and the ABS-CBN Film Archives 107 4. Queer Anachronisms and Temporalities of Restoration: T-Bird at Ako 133 5. Informal Archiving in a Riverine System: Video 48 and the Kalampag Tracking Agency 173 6. Binisaya: Archival Power and Vernacular Audiences in Iskalawags 214 Epilogue. Of Audiences and Archival Publics: Pepot Artista 256 Notes 277 Bibliography 339 Index 375
Acronyms ix Acknowledgments xi Introduction. Keywords for Philippine Cinema’s Archival Afterlives 1 1. A Tale of Three Buildings: Marcos Cultural Policy and Anarchival Temporality 51 2. Silence, Perseverance, and Survival in State-Run Philippine Film Archives 76 3. Privatization and the ABS-CBN Film Archives 107 4. Queer Anachronisms and Temporalities of Restoration: T-Bird at Ako 133 5. Informal Archiving in a Riverine System: Video 48 and the Kalampag Tracking Agency 173 6. Binisaya: Archival Power and Vernacular Audiences in Iskalawags 214 Epilogue. Of Audiences and Archival Publics: Pepot Artista 256 Notes 277 Bibliography 339 Index 375
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