Diaphany : A Disseminar on Carapace 6
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Language: Unknown language code Summary language: Unknown language code Original language: Unknown language code Series: ; copyright December 201246Edition: Description: Content type: text Media type: unmediated Carrier type: volumeISBN: ISSN: 2Other title: 6 []Uniform titles: | | Subject(s): -- 2 -- 0 -- -- | -- 2 -- 0 -- 6 -- | 2 0 -- | -- -- 20 -- | | -- -- Transparency -- Semiosis -- Dissemination -- | -- -- -- 20 -- --Genre/Form: -- 2 -- Additional physical formats: DDC classification: | LOC classification: | | 2Other classification:| Item type | Current location | Home library | Collection | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|---|---|
| Book | PLM | PLM Periodicals Section | Periodicals | BJ 1 (Browse shelf) | Available | PER 1432 DD |
ABSTRACT : If Philippine cinema, during a time of dictatorial duress, has indeed gathered into its fold allegories of a certain social texture, then contmeporary critique must also provide a rather thick notion of allegory itself, in order to describe the quality of the metonymic membranes which make possible the emergence of substance through eloquent surface. In this essay, I propose a critical elaboration of Laura Mulvey's category carapace, anda subtle yet significant declension of surface, diaphane, in an attempt to intervene in the understanding of film as a plastic form with the coordinates of its semiotic labor s theory of texture, the tactile , and textuality itself. I compare Ishamael bernal's Manila by Night (1980)and peque Galla's Scorpio Nights (1985) to intuit that moment when, compellingly, through certain figures of ambivalence, the trope of the carapace can disseminate its attempt to enclose the world in discursive gambit. 56
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