{"title":"迈克·德莱昂在菲律宾电影院的定位","authors":"Patrick F. Campos","doi":"10.2307/j.ctv15d805m.14","DOIUrl":null,"url":null,"abstract":"Mike de Leon, whose films helped define the ‘second golden age’ (roughly\n from 1975 to 1984) of Philippine cinema, has been hailed as ‘local cinema’s\n only living film master.’ This essay analyses how the discourse of the\n golden age came about by interpreting the meaning of De Leon’s location\n in this discourse. Tracing the director’s career in chronological fashion, it\n discusses how his films contributed to a progressive nationalist cinema\n during the period of martial law under Marcos but also how they increasingly\n and reflexively interrogated the significance of the golden age in\n the post-Marcos era. Finally, it evaluates the conceptual boundaries of\n the golden age through an appreciation of the trajectory of his cinema\n from 1985 to 1999.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Locating Mike de Leon in Philippine Cinema\",\"authors\":\"Patrick F. Campos\",\"doi\":\"10.2307/j.ctv15d805m.14\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Mike de Leon, whose films helped define the ‘second golden age’ (roughly\\n from 1975 to 1984) of Philippine cinema, has been hailed as ‘local cinema’s\\n only living film master.’ This essay analyses how the discourse of the\\n golden age came about by interpreting the meaning of De Leon’s location\\n in this discourse. Tracing the director’s career in chronological fashion, it\\n discusses how his films contributed to a progressive nationalist cinema\\n during the period of martial law under Marcos but also how they increasingly\\n and reflexively interrogated the significance of the golden age in\\n the post-Marcos era. Finally, it evaluates the conceptual boundaries of\\n the golden age through an appreciation of the trajectory of his cinema\\n from 1985 to 1999.\",\"PeriodicalId\":210445,\"journal\":{\"name\":\"Southeast Asia on Screen\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-08-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Southeast Asia on Screen\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2307/j.ctv15d805m.14\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Southeast Asia on Screen","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv15d805m.14","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
迈克·德莱昂(Mike de Leon)的电影帮助定义了菲律宾电影的“第二个黄金时代”(大约从1975年到1984年),他被誉为“当地电影唯一在世的电影大师”。这篇文章通过解释De Leon在这个话语中的位置的意义来分析黄金时代的话语是如何产生的。影片按照时间顺序追溯了这位导演的职业生涯,讨论了他的电影如何在马科斯治下的戒严令时期为进步的民族主义电影做出了贡献,以及他们如何越来越多地反思后马科斯时代黄金时代的意义。最后,通过对他1985年至1999年电影轨迹的欣赏,评估黄金时代的概念边界。
Mike de Leon, whose films helped define the ‘second golden age’ (roughly
from 1975 to 1984) of Philippine cinema, has been hailed as ‘local cinema’s
only living film master.’ This essay analyses how the discourse of the
golden age came about by interpreting the meaning of De Leon’s location
in this discourse. Tracing the director’s career in chronological fashion, it
discusses how his films contributed to a progressive nationalist cinema
during the period of martial law under Marcos but also how they increasingly
and reflexively interrogated the significance of the golden age in
the post-Marcos era. Finally, it evaluates the conceptual boundaries of
the golden age through an appreciation of the trajectory of his cinema
from 1985 to 1999.