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You searched for subject:(Philippine Cinema). Showing records 1 – 2 of 2 total matches.

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University of Hawaii – Manoa

1. Collins, Lance David. Patay na ang hari, mabuhay ang mahal na hari : renewal and redemption of the king in Joel Lamangan's Walang Kawala.

Degree: 2016, University of Hawaii – Manoa

Ph.D. University of Hawaii at Manoa 2010.

The object of the work is to explore the possibility that the appearance of the figure of the young gay man in independent gay Philippine cinema is a symbol of coming social and political transformation and renewal in Philippine life generally. The study analyzes the symbolism constellated in Joel Lamangan's Walang Kawala (2008) utilizing traditional Philippine folktales through a classical Jungian approach with particular attention to the struggle of the shadow and renewal of collective consciousness. This approach to the symbolic analysis of film reclaims classical Jungian thought as an alternative approach to film from the more dominant orientations. It ends with a brief review of how the symbolism in Walang Kawala parallels the symbolism in other recent independent gay Philippine films.

Subjects/Keywords: Joel Lamangan; Walang Kawala; gay Philippine cinema

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Collins, L. D. (2016). Patay na ang hari, mabuhay ang mahal na hari : renewal and redemption of the king in Joel Lamangan's Walang Kawala. (Thesis). University of Hawaii – Manoa. Retrieved from http://hdl.handle.net/10125/101866

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Collins, Lance David. “Patay na ang hari, mabuhay ang mahal na hari : renewal and redemption of the king in Joel Lamangan's Walang Kawala.” 2016. Thesis, University of Hawaii – Manoa. Accessed March 07, 2021. http://hdl.handle.net/10125/101866.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Collins, Lance David. “Patay na ang hari, mabuhay ang mahal na hari : renewal and redemption of the king in Joel Lamangan's Walang Kawala.” 2016. Web. 07 Mar 2021.

Vancouver:

Collins LD. Patay na ang hari, mabuhay ang mahal na hari : renewal and redemption of the king in Joel Lamangan's Walang Kawala. [Internet] [Thesis]. University of Hawaii – Manoa; 2016. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/10125/101866.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Collins LD. Patay na ang hari, mabuhay ang mahal na hari : renewal and redemption of the king in Joel Lamangan's Walang Kawala. [Thesis]. University of Hawaii – Manoa; 2016. Available from: http://hdl.handle.net/10125/101866

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


University of Stirling

2. Mai, Nadin. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.

Degree: PhD, 2015, University of Stirling

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.

Subjects/Keywords: film; Slow Cinema; cinema; Lav Diaz; Philippines; history; memory; trauma; PTSD; concentrationary; terror; extrajudicial killings; torture; rape; post-trauma; Death in the Land of Encantos; Melancholia; Florentina Hubaldo CTE; Trauma Cinema; Janet Walker; Roger Luckhurst; Susannah Radstone; aesthetics; duration; absence; latency period; instantaneity; flashbacks; anxiety; Cathy Caruth; Raya Morag; failed witnessing; Trauma Studies; Philippine Cinema; trauma therapy; sound; silence; framing; ghosts; haunting; Béla Tarr; Tsai Ming-liang; Apichatpong Weerasethakul; Ari Folman; Rithy Panh; Waltz with Bashir; time; long-take; colonialism; oppression; psyche; poverty; Martial Law; l’univers concentrationnaire; hamlets; speed; off-screen space; temporality; power; psychological warfare; mental paralysis; the disappeared; chronic trauma; backstory wounds; repetition; circularity; post-traumatic cinema; death; depletion; ethics; atrocity; painting; landscape painting; Rückenfigur; Chinese painting; accousmêtre; accousmatic; mourning; grief; Slow cinema; Diaz, Lav, 1958- Filmmaker; Motion picture producers and directors Philippines

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Mai, N. (2015). The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. (Doctoral Dissertation). University of Stirling. Retrieved from http://hdl.handle.net/1893/22990

Chicago Manual of Style (16th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Doctoral Dissertation, University of Stirling. Accessed March 07, 2021. http://hdl.handle.net/1893/22990.

MLA Handbook (7th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Web. 07 Mar 2021.

Vancouver:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Internet] [Doctoral dissertation]. University of Stirling; 2015. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/1893/22990.

Council of Science Editors:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Doctoral Dissertation]. University of Stirling; 2015. Available from: http://hdl.handle.net/1893/22990

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