As an initial access, an entry point, I begin with the concept of tahanan, in light of the curation of Sa Tahanan Collective in Dubai, United Arab Emirates.
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Alyx Arumpac’s Aswang (2019) as Counterspectacle
The documentary film genre, through an analysis of Aswang (2019), evokes a reflexivity despite its self-determined spectacularity — a possible critique of the film medium as spectacle.
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This is Now
It was the rush. Of wanting to feel again after a long period of isolation. Of needing to find a connection to the outside world. “I will take it,” I said. “Any semblance will do.” What started as a deliberate conquest for affection became a serious evaluation of the self, the spaces we let ourselves […]
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Notes On a Conditional Form
The following is a paper that captures, in essence, a nuanced take on Celso Ad. Castillo’s Burlesk Queen (1977), situating it within the context of Philippine Cinema.
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