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In City of Screens Jasmine Nadua Trice examines the politics of
cinema circulation in early-2000s Manila. She traces Manila's
cinema landscape by focusing on the primary locations of film
exhibition and distribution: the pirated DVD district, mall
multiplexes, art-house cinemas, the university film institute, and
state-sponsored cinematheques. In the wake of digital media piracy
and the decline of the local commercial film industry, the rising
independent cinema movement has been a site of contestation between
filmmakers and the state, each constructing different notions of a
prospective, national public film audience. Discourses around
audiences become more salient given that films by independent
Philippine filmmakers are seldom screened to domestic audiences,
despite their international success. City of Screens provides a
deeper understanding of the debates about the competing roles of
the film industry, the public, and the state in national culture in
the Philippines and beyond.
In City of Screens Jasmine Nadua Trice examines the politics of
cinema circulation in early-2000s Manila. She traces Manila's
cinema landscape by focusing on the primary locations of film
exhibition and distribution: the pirated DVD district, mall
multiplexes, art-house cinemas, the university film institute, and
state-sponsored cinematheques. In the wake of digital media piracy
and the decline of the local commercial film industry, the rising
independent cinema movement has been a site of contestation between
filmmakers and the state, each constructing different notions of a
prospective, national public film audience. Discourses around
audiences become more salient given that films by independent
Philippine filmmakers are seldom screened to domestic audiences,
despite their international success. City of Screens provides a
deeper understanding of the debates about the competing roles of
the film industry, the public, and the state in national culture in
the Philippines and beyond.
Uncanny Histories in Film and Media brings together a stellar
lineup of established and emergent scholars who explore the uncanny
twists and turns that are often occluded in larger accounts of film
and media. Prompted by fresh archival research and new conceptual
approaches, the works included here probe the uncanny as a mode of
historical analysis that reveals surprising connections and
unsettling continuities. The uncanny stands for what often
eludes us, for what remains unfamiliar or mysterious or
strange. Whether writing about film movements, individual
works, or the legacies of major or forgotten critics and theorists,
the contributors remind us that at the heart of the uncanny, and
indeed the writing of history, is a troubling of definitions, a
challenge to our inherited narratives, and a disturbance of what
was once familiar in the uncanny histories of our field. Â
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