This dissertation examines the circulation of local and transnational alternative cinemas in contemporary Metro-Manila, Philippines. It considers how these circulations have taken shape in the wake of international media piracy, the decline of the once-prolific, local commercial film industry, and the rise of an independent cinema movement heralded both within the Philippines and abroad as a new national cinema. Focusing on specific sites of circulation in the city, including the pirated DVD district, the mall multiplex, the arthouse cinema, and the university film institute, the dissertation considers the ways in which the discourses surrounding these spaces create screen cultures that are simultaneously cosmopolitan and deeply localized. They are transnational in their ties to global mass culture or international art or cult cinemas; at the same time, they are deeply localized in their links to Manila’s histories of compulsory transnationalisms, uneven development, and prohibitive state censorship policies. These localized systems of cinematic circulation present ways to consider the ties among cinema, nation, and the transnational as they take shape not only through the production of films, but in the reflexive, discursive construction of a cinemagoing culture.
|Advisor:||Waller, Gregory, Klinger, Barbara|
|Commitee:||Cullather, Nick, Stoeltje, Beverly|
|Department:||Communication and Culture|
|School Location:||United States -- Indiana|
|Source:||DAI-A 70/12, Dissertation Abstracts International|
|Subjects:||Mass communications, Film studies|
|Keywords:||Cinema, Circulation, Globalization, National cinema, Philippines, Transcultural capital, Transnational|
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