When Islamic State-inspired extremists laid siege in Marawi City, #PrayForMarawi circulated across various social media platforms. Using Kenneth Burke’s Guilt-redemption rhetoric as framework, how was solidarity communicated through #PrayForMarawi tweets? #PrayForMarawi frames the terrorist siege as the source of guilt which destroyed our upholding of cosmopolitan values. Mortification in the form of self-sacrifice is performed through the announcement of acts of prayer online while victimage is communicated by offering up ISIS as the tragic scapegoat that needs to be banished. Through this framing of the situation, the liberation of the city becomes the “amen” of the online prayer utterance, transporting socio-political events onto the realm of divine intervention. The liberation of Marawi was the ultimate purging of guilt in #PrayForMarawi. However, two years after the liberation of Marawi, no hashtags of solidarity are trending for the 100,000 Marawi residents who are still displaced and homeless. Some of the residents have even expressed their frustration and impatience toward the government’s broken promises of rehabilitation. Because of the redemption acknowledged in the answered prayers of liberation of #PrayForMarawi, a post-humanitarian solidarity of “mass self-communication” purified our individual guilt while failing to provide a collective and sustained commitment for justice towards the suffering of others.
{"title":"What We Do When We #PrayFor: Communicating Posthumanitarian Solidarity Through #PrayForMarawi","authors":"J. Crisostomo","doi":"10.52518/2020-06crstmo","DOIUrl":"https://doi.org/10.52518/2020-06crstmo","url":null,"abstract":"When Islamic State-inspired extremists laid siege in Marawi City, #PrayForMarawi circulated across various social media platforms. Using Kenneth Burke’s Guilt-redemption rhetoric as framework, how was solidarity communicated through #PrayForMarawi tweets? #PrayForMarawi frames the terrorist siege as the source of guilt which destroyed our upholding of cosmopolitan values. Mortification in the form of self-sacrifice is performed through the announcement of acts of prayer online while victimage is communicated by offering up ISIS as the tragic scapegoat that needs to be banished. Through this framing of the situation, the liberation of the city becomes the “amen” of the online prayer utterance, transporting socio-political events onto the realm of divine intervention. The liberation of Marawi was the ultimate purging of guilt in #PrayForMarawi. However, two years after the liberation of Marawi, no hashtags of solidarity are trending for the 100,000 Marawi residents who are still displaced and homeless. Some of the residents have even expressed their frustration and impatience toward the government’s broken promises of rehabilitation. Because of the redemption acknowledged in the answered prayers of liberation of #PrayForMarawi, a post-humanitarian solidarity of “mass self-communication” purified our individual guilt while failing to provide a collective and sustained commitment for justice towards the suffering of others.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"27 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73802891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.52518/2020.17.2-04qntos
J. J. Quintos
This essay attempts to construct and deconstruct the discourses of “nation” (bayan) and “region” (rehiyon) vis-à-vis “aswang” and “tama(w)o” embedded in the films of Negrense filmmaker Richard Somes – “Lihim ng San Joaquin” from Shake, Rattle, and Roll 2k5 (Monteverde, Monteverde, & Somes, 2005), Yanggaw (Arguelles, Montelibano, Montelibano, & Somes, 2008), “Tamawo” from Shake, Rattle, and Roll 13 (Monteverde, Monteverde, & Somes, 2011), and Corazon: Ang Unang Aswang (Calmerin, Kintanar, Samson-Martinez, & Somes, 2012). Using the horror genre, the four films present the quotidian lives from the nation’s peripheries through the depiction of the antagonized “indigenous belief systems,” imagined backward-ness of the bucolic landscape, and oppressive hacienda systems. These spatio-temporal dispositifs are deemed to result in the contested processes of the dichotomy and vicissitudes between rural and urban, margin and center, Self and Other, and nation and region. Finally, by considering Somes’s films as “filmic folklore,” the essay tries to configure and reconfigure the folk creatures “aswang” and “tama(w)o” as cornucopia and articulations of regional and national “history of emotions.”
本文试图构建和解构“民族”(bayan)和“地区”(rehiyon)的话语-à-vis“aswang”和“tama(w)o”，这些话语嵌入在内格伦斯电影制作人理查德·索姆斯的电影中——《摇，摇，滚2k5》中的“Lihim ng San Joaquin”(蒙特维德，蒙特维德和索姆斯，2005年)，杨高(Arguelles，蒙特利巴诺，蒙特利巴诺和索姆斯，2008年)，《摇，摇，摇13》中的“Tamawo”(蒙特维德，蒙特维德和索姆斯，2011年)，以及科拉松:Ang Unang Aswang (Calmerin, Kintanar, Samson-Martinez， & some, 2012)。这四部电影采用恐怖类型，通过对敌对的“土著信仰体系”、想象中的落后的田园景观和压迫性的庄园制度的描绘，呈现了国家边缘的日常生活。这些时空配置导致了农村与城市、边缘与中心、自我与他者、国家与地区的二元对立与变迁过程。最后，通过将soms的电影视为“电影民俗”，本文试图将民间生物“aswang”和“tama(w)o”配置和重新配置为区域和国家“情感历史”的聚宝点和表达。
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Women in situations of distress receive a disproportionate amount of news coverage. As survivors (or perpetrators) of crime, violence, or natural disasters, they are naturally “newsworthy”—a newsroom term for the subjective lens with which truthtellers define and select their news frames. These frames, which govern the identification and coverage of what is “newsworthy,” box women into specific, patriarchal roles. Women who do not fall within the traditional feminine archetypes are labeled as dissidents or insurgents, and are excluded, dismissed, rejected, or worse persecuted, until the news recasts them into more familiar molds. This is exemplified in the Philippine Daily Inquirer’s news coverage of Mary Jane Veloso, a Filipina convicted of drug trafficking in Indonesia and sentenced to death in 2010. An examination of the Inquirer’s coverage of the Veloso case unearthed the gender biases that are inherent in the subjective rules that govern the patterns of selection and depiction in mainstream newsrooms.
处于困境的妇女得到了不成比例的新闻报道。作为犯罪、暴力或自然灾害的幸存者(或肇事者)，他们自然具有“新闻价值”——这是一个新闻编辑部术语，指的是真相讲述者定义和选择新闻框架的主观镜头。这些框架控制着对“新闻价值”的识别和报道，将女性置于特定的父权角色中。不属于传统女性原型的女性被贴上异议者或叛逆者的标签，被排斥、被解雇、被拒绝，甚至更糟的是受到迫害，直到新闻将她们重新塑造成更熟悉的模式。《菲律宾每日问询报》(Philippine Daily Inquirer)对玛丽·简·维罗索(Mary Jane Veloso)的新闻报道就体现了这一点。维罗索是一名菲律宾人，在印度尼西亚因贩毒被定罪，于2010年被判处死刑。对《询问者报》对维罗索案的报道的研究发现，主流新闻编辑室的选择和描述模式的主观规则中固有的性别偏见。
{"title":"A Tale of Three Women: Framing as a Patriarchal Practice in the News Coverage of Women in Distress ","authors":"Ma. Aurora Liwag-Lomibao","doi":"10.52518/2020-03lmibao","DOIUrl":"https://doi.org/10.52518/2020-03lmibao","url":null,"abstract":"Women in situations of distress receive a disproportionate amount of news coverage. As survivors (or perpetrators) of crime, violence, or natural disasters, they are naturally “newsworthy”—a newsroom term for the subjective lens with which truthtellers define and select their news frames. These frames, which govern the identification and coverage of what is “newsworthy,” box women into specific, patriarchal roles. Women who do not fall within the traditional feminine archetypes are labeled as dissidents or insurgents, and are excluded, dismissed, rejected, or worse persecuted, until the news recasts them into more familiar molds. This is exemplified in the Philippine Daily Inquirer’s news coverage of Mary Jane Veloso, a Filipina convicted of drug trafficking in Indonesia and sentenced to death in 2010. An examination of the Inquirer’s coverage of the Veloso case unearthed the gender biases that are inherent in the subjective rules that govern the patterns of selection and depiction in mainstream newsrooms.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"35 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88085168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.52518/2020.17.2-01mallri
Mary Anne D.C. Mallari
Globalization affects specific regions in the Philippines both in positive and adverse ways. While it brings in capital from migrant laborers and more advanced communication technology to connect remote regions to highly urbanized areas, globalization also causes the disenfranchisement of natives and their cultures. Its effect on ethnic cultures is clearly seen in James Robin Mayo’s The Chanters (Cena, Nazareno, Lapuz, & Mayo, 2017), a regional film about a young girl named Sarah Mae, a member of an ancient Panay-Bukidnon tribe too engrossed in globalized influences that she almost forgets the importance of her ethnic culture, as seen in her treatment of her grandfather Ramon, one of the few living chanters of their tribe. Using the aforementioned film, this paper attempts to explain the development of globalization in rural areas using Appadurai’s theory of global cultural flows. In addition, this paper will discuss how the effect of globalization in rural communities is analogous to the development of regional films, using Deleuze and Guattari’s concept of a rhizomatic growth found in A Thousand Plateaus: Capitalism and Schizophrenia (1987). Ultimately, this type of development of regional films, with the aid of globalization, leads to a greater appreciation of the cultures in the regions and proves that the regions are an integral part of the nation.
全球化以积极和消极的方式影响着菲律宾的特定地区。全球化带来了外来劳动力的资本和更先进的通信技术，将偏远地区与高度城市化的地区连接起来，但它也导致了当地人及其文化的权利被剥夺。它对民族文化的影响在James Robin Mayo的《吟唱者》(Cena, Nazareno, Lapuz， & Mayo, 2017)中可以清楚地看到，这是一部关于一个名叫Sarah Mae的年轻女孩的地方电影，她是一个古老的Panay-Bukidnon部落的成员，她太专注于全球化的影响，几乎忘记了她的民族文化的重要性，正如她对待她的祖父Ramon一样，Ramon是他们部落中为数不多的活着的吟唱者之一。本文试图借助上述影片，用阿帕杜赖的全球文化流动理论来解释全球化在农村地区的发展。此外，本文将利用德勒兹和瓜塔里在《千高原:资本主义和精神分裂症》(1987)中提出的根状生长概念，讨论全球化对农村社区的影响如何类似于地区电影的发展。最终，这种地域电影的发展，在全球化的帮助下，导致了对地域文化的更大的欣赏，并证明了地域是国家不可分割的一部分。
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Pub Date : 2019-01-01DOI: 10.52518/2020.16.2-01velure
Veluree Metaveevinij
This paper explores representations of identities and fandom in two Southeast Asia border-crossing films, Myanmar in Love in Bangkok (2014) and From Bangkok to Mandalay (2016). Both films have already been exhibited in Thailand and Myanmar and have gained a huge following in both countries. Myanmar in Love in Bangkok portrays a contemporary migrant situation: It is a love story between a male Burmese migrant worker and a Thai woman played by Kaew Korravee, a Thai leading actress who has become famous in Myanmar because of her portrayal of this modern and unconventional character. Alternatively, From Bangkok to Mandalay, which notably presents Burmese and Siamese cultural heritage, has successfully created a feeling of nostalgia among the Thai audience, resulting in fan tourism to Myanmar. Comparing these two cases, I argue that consuming modernity and nostalgia are the main driving forces of the cross-border representations and their subsequent fandom. This paper also engages with the existing fan studies framework put forward by Koichi Iwabuchi and extends the studies of transnational fans further by considering the Southeast Asian sociocultural context.
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Pub Date : 2019-01-01DOI: 10.52518/2020.16.2-07piocos
Carlos M. Piocos
This article discusses how Filipina and Indonesian domestic workers in Hong Kong claim and transform transnational sites as portrayed in Ani Ema Susanti’s 2008 short documentary film Mengusahakan Cinta [Effort for Love] and Moira Zoitl’s documentary video series Exchange Square (2007). The films depict how Indonesian and Filipina domestic workers negotiate precarious working and living conditions by deploying forms of intimacy, through their social practices and alternative sexualities, that enable them to gain agency in finding their own community and sense of belonging. This article argues that while their relationship to both private and public spaces in Hong Kong is transformed, these migrant women also actively transgress the borders of private and public spheres and personal and political realms.
本文讨论香港的菲律宾和印尼家庭佣工如何主张和改造跨国地点，如Ani Ema Susanti在2008年的纪录短片《为爱而努力》和Moira Zoitl的纪录短片系列《交易广场》(2007)。这些电影描绘了印尼和菲律宾的家政工人如何通过社会实践和另类性行为，利用各种形式的亲密关系来应对不稳定的工作和生活条件，使她们能够在寻找自己的社区和归属感方面获得代理。本文认为，这些流动妇女在转变她们与香港私人和公共空间的关系的同时，也积极地跨越了私人和公共领域以及个人和政治领域的边界。
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Pub Date : 2019-01-01DOI: 10.52518/2020.16.1-10mratla
Noel Christian A. Moratilla
{"title":"The Prisoner as Testimonialista: A Book Review of Bobby V. Villagracia’s Selda Dos\u0000 (Manila City Jail)","authors":"Noel Christian A. Moratilla","doi":"10.52518/2020.16.1-10mratla","DOIUrl":"https://doi.org/10.52518/2020.16.1-10mratla","url":null,"abstract":"","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85332823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.52518/2020.16.1-09hertil
Tilman Baumgärtel, Tobias Hering
{"title":"“You’re so different, but you’re exactly alike.” - Interview with Katrin de\u0000 Guia","authors":"Tilman Baumgärtel, Tobias Hering","doi":"10.52518/2020.16.1-09hertil","DOIUrl":"https://doi.org/10.52518/2020.16.1-09hertil","url":null,"abstract":"","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"42 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91364197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.52518/2020.16.2-03prsnam
Natthanai Prasannam
This article aims to explore yaoi phenomenon in Thailand particularly during the 2010s at the height of the industry involvement with yaoi fandom. The article draws on Paul Booth’s (2015) study of fan/industry interaction to expand existing scholarship on yaoi phenomenon in Thailand which tends to focus on textual readings linking back to the Japanese cultural origin, ethnographic research, and the aspect of queer cultural politics. The study also draws attention to GMMTV Company Limited, a key player in expanding the yaoi industry in Thailand and growing the fandom of Thai yaoi stars in different countries in Asia. The article discusses the way GMMTV expands yaoi industry through connections with the local book industry as well as its own star and music making divisions. It pays close attention to fan/industry interactions rooted in the industry-led mimetic practices inspired by yaoi fan culture. These practices include the act of “shipping” (pairing yaoi couples) through what fans referred to as Official Promotional Videos (OPVs) and television shows. The article then discusses the way GMMTV employs fan nostalgia to create memory-driven activities. The highly commercialized industry-led fan meeting also offers an interesting site to explore fan/industry interactions where fan-led practices were reenacted by the industry yet consumed by fans themselves.
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Pub Date : 2019-01-01DOI: 10.52518/2020.16.2-05pscual
Chuckberry J. Pascual
“Madonna and Me: An Act of Myth-making” attempts to delineate the myth of the Western popstar Madonna as an outsider, and reinscribe the same myth into the writing (and in effect, reading) practice of a Filipino writer. This act of “myth-making” is not just a form of poetics, it can also be seen as an example of a study of postcolonial subjectivity, and a theory of writing.
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