Undergraduate Research Paper

This is a descriptive study of the notions of masculinity in selected Filipino mainstream films from 1982 to 2002. Data was gathered through random selection of 24 Filipino Mainstream films, with 8 films representing every 7 years. At most three characters in each film were studied to arrive at the notions of masculinity in the selected medium. Findings revealed that the notions of masculinity are limited only to the Macho and Typical end of the Masculinity-Femininity Spectrum. As gender analysis was used to analyze the results, the conclusion arrived at stated the narrowness of Filipino male movie themes pointing out to the lack of openness of the Filipino society to alternative behavioral patterns to govern the upbringing of the Filipino man. A critical understanding of the representations of masculinity along the cultural spectrum was suggested to produce a more substantive result in related studies in the future.

It took some time before cinema become a legitimate art form worthy as an object of study. Francois Truffaut proposed the concept of the auteur where though a large number of people are involved in producing a film, the director has overall artistic power in the movie. This formal approach to the medium invariably leads to the neglect of ‘genre films’. Cultural studies made possible the evaluation of these popular movies by placing them in their social and historical contexts. Using an interdisciplinary approach that gives equal value to both text and context, the dynamics of society and cultural artifacts are revealed in films. The paper will focus on the relatively neglected genre of horror cinema, particularly the work of veteran director Chito S. Roño. The paper aims to document the film career of Chito S. Roño and locate his position in the development of Filipino film industry. The paper then pursues a reading of a range of recent blockbuster horror films—Feng Shui (2004), T2 (2009) and The Healing (2012)-- and highlight their sociocultural and political underpinnings. Lastly this study aims to discuss the dynamics of horror films, particularly its allegorical function, and the role it plays in Philippine society. Feng Shui (2004) is read as a demonstration of overlapping societal anxieties regarding the discourse of upward economic mobility that spills over to the discourses of luck, ethnicity, changing gender roles and politics of domestic space. 7'2 (2009) is read as a reworking of the road movie, juxtaposing the discourse of spatial politics and majority-minority antagonisms in the nation-space. The source of horror is read as the unresolved issues brought about by the subalternization of Filipino-Muslims. The Healing (2012) is read in the context of the dismal state of health care and disintegration of the sense of community; the critique maps the horrors that confront the Filipino body and lays bare possible resistance. This paper takes the position that indeed the selected horror films once historicized perform allegorical functions, and by infusing forms of resistance in the narratives can also help to usher in social transformation to end societal horrors. It took some time before cinema become a legitimate art form worthy as an object of study. Francois Truffaut proposed the concept of the auteur where though a large number of people are involved in producing a film, the director has overall artistic power in the movie. This formal approach to the medium invariably leads to the neglect of ‘genre films’. Cultural studies made possible the evaluation of these popular movies by placing them in their social and historical contexts. Using an interdisciplinary approach that gives equal value to both text and context, the dynamics of society and cultural artifacts are revealed in films. The paper will focus on the relatively neglected genre of horror cinema, particularly the work of veteran director Chito S. Roño. The paper aims to document the film career of Chito S. Roño and locate his position in the development of Filipino film industry. The paper then pursues a reading of a range of recent blockbuster horror films—Feng Shui (2004), T2 (2009) and The Healing (2012)-- and highlight their sociocultural and political underpinnings. Lastly this study aims to discuss the dynamics of horror films, particularly its allegorical function, and the role it plays in Philippine society. Feng Shui (2004) is read as a demonstration of overlapping societal anxieties regarding the discourse of upward economic mobility that spills over to the discourses of luck, ethnicity, changing gender roles and politics of domestic space. 7'2 (2009) is read as a reworking of the road movie, juxtaposing the discourse of spatial politics and majority-minority antagonisms in the nation-space. The source of horror is read as the unresolved issues brought about by the subalternization of Filipino-Muslims. The Healing (2012) is read in the context of the dismal state of health care and disintegration of the sense of community; the critique maps the horrors that confront the Filipino body and lays bare possible resistance. This paper takes the position that indeed the selected horror films once historicized perform allegorical functions, and by infusing forms of resistance in the narratives can also help to usher in social transformation to end societal horrors.

Undergraduate Research Paper

Browse

Filters

Settings

Sort By

Results per page

Search Results