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Third Cinema in a Global Frame: Curacha, Yahoo!, and Manila by Night

Third Cinema in a Global Frame: Curacha, Yahoo!, and Manila by Night The movie 8MM (dir. Joel Schumacher, 1999) tells us in no uncertain terms that, in its view, the degraded media festering beyond the Hollywood frame (and the degradation they transmit) include the world of Philippine cinema, a small-time, low-production-value perversion that is part of the slag thrown off by the great L.A. image smelter. Philippine cinema here is represented by a snuff film that is vague, terrifying, obscene, and bogus—characteristics that third cinema has always had to negotiate.1 In the Filipino film within a Hollywood film in 8MM, the presumably real gang bang and faked murder of a woman identified as Filipina is an image of the violating real that Hollywood wants to show but cannot. Put another way, her situation (what positions 9:2 © 2001 by Duke University Press positions 9:2 Fall 2001 she presumably is: object of desire/degraded whore; what she presumably represents: Third World licentiousness/freedom from moral inhibition) is at once internal to Hollywood’s visual logic and radically excluded from its representation. Inside and underneath the official images—what can be shown—is her blood. This topographical peculiarity characteristic of the violating real is both the condition of the image as it appears in the global frame http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions asia critique Duke University Press

Third Cinema in a Global Frame: Curacha, Yahoo!, and Manila by Night

positions asia critique , Volume 9 (2) – Sep 1, 2001

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Publisher
Duke University Press
Copyright
Copyright 2001 by Duke University Press
ISSN
1067-9847
eISSN
1527-8271
DOI
10.1215/10679847-9-2-331
Publisher site
See Article on Publisher Site

Abstract

The movie 8MM (dir. Joel Schumacher, 1999) tells us in no uncertain terms that, in its view, the degraded media festering beyond the Hollywood frame (and the degradation they transmit) include the world of Philippine cinema, a small-time, low-production-value perversion that is part of the slag thrown off by the great L.A. image smelter. Philippine cinema here is represented by a snuff film that is vague, terrifying, obscene, and bogus—characteristics that third cinema has always had to negotiate.1 In the Filipino film within a Hollywood film in 8MM, the presumably real gang bang and faked murder of a woman identified as Filipina is an image of the violating real that Hollywood wants to show but cannot. Put another way, her situation (what positions 9:2 © 2001 by Duke University Press positions 9:2 Fall 2001 she presumably is: object of desire/degraded whore; what she presumably represents: Third World licentiousness/freedom from moral inhibition) is at once internal to Hollywood’s visual logic and radically excluded from its representation. Inside and underneath the official images—what can be shown—is her blood. This topographical peculiarity characteristic of the violating real is both the condition of the image as it appears in the global frame

Journal

positions asia critiqueDuke University Press

Published: Sep 1, 2001

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