This original collection fills a gap in the literature on Lav Diaz,
and more broadly, on slow and durational cinema. The importance of
the director in contemporary world cinema is beyond doubt. This
collection considers Lav Diaz and his works holistically without
being confined to a specific approach or research method. On the
contrary, it involves almost all the major contemporary academic
approaches to cinema. It focuses on an auteur who has been
celebrated immensely in recent times and yet has remained largely
unexplored in cinema studies. The book will address this research
gap. As such, this book aims to situate Diaz at the crucial
juncture of 'new' auteurism, Filipino New Wave and transnational
cinema, but it does not neglect the industrial-exhibitional
coordinates of his cinema. The rationale behind this project is to
raise questions on the oeuvre of a significant auteur, to situate
him in and outside of his immediate national context(s), to present
a repository of critical approaches on him, to reconsider the
existing critical positions on him, to find newer avenues to enter
(and exit) his canon that will consciously avoid the time-worn
rhetoric of long take and slowness of the proverbial 'slow cinema'
camp and to find corridors in him that will lead to informed ways
of reaching other movements/auteurs in other times, other places.
It explores various other aspects of Diaz and his cinema whose
notoriety, the editors believe, should not rely solely on its
incredible running time. The collection looks at Diaz from the
perspectives of a national and a transnational critic - one of the
two editors is from the Philippines, the other from another Asian
location. It concentrates both on the spatial and the temporal, to
place him within the intricacies of the culture and creative
industries and the distribution practices and politics in his
native place, to allow space for his 'detractors' who (perhaps
rightly) focus on and object to his 'artlessness', and also to read
him in the context of his fascination for the epic novel and
novelistic cinema, his engagement with Dostoevsky and Jose Rizal,
among others. This is the first book-length study on the Filipino
auteur Lav Diaz. It looks critically at his career and corpus from
various perspectives, with contributions from cinema studies
researchers, film critics, festival programmers and artists. It
offers a nuanced overview of the filmmaker and the cinematic
traditions he belongs to for film enthusiasts, researchers and
general readers alike. Primary readership will be researchers,
scholars, educators and students in film studies. Also academics
and researchers interested and working in cultural studies and
Philippine studies.
General
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