Filipińskie kino w odcieniach różu

• Authors: Maria Delimata

Title variants

EN

Filipino cinema in shades of pink

• Languages of publication: PL

Abstracts

PL

This essay discusses two examples of contemporary Filipino cinema – The Blossoming of Maximo Oliveros (Ang Pagdadalaga ni Maximo Oliveros), Auraeus Solito’s directoral debut, and Joel C. Lamangan’s Zsazsa Zaturnnah: Ze Moveeh. More divides than binds these films together, especially in terms of genre. The first is a comedy-drama, the latter – a musical adaptation of a fantasy comic book. What binds them together is the fact that both main characters are bakla – Filipino gays, although the word is very difficult to translate into Polish. It refers both to a “gay“ – a homosexual person who is in a relationship with another homosexual person, as well as a feminized man who performs his own sexuality and identity. Even though it would be very difficult to describe The Blossoming of Maximo Oliveros and Zsazsa Zaturnnah: Ze Moveeh as masterpieces of contemporary cinema, their pertinence should be seen in the courage to speak about the issue of homosexuality in the Philippines and the undeniable uniqueness of showing the social problems of the country in this manner. 

EN

This essay discusses two examples of contemporary Filipino cinema – The Blossoming of Maximo Oliveros (Ang Pagdadalaga ni Maximo Oliveros), Auraeus Solito’s directoral debut, and Joel C. Lamangan’s Zsazsa Zaturnnah: Ze Moveeh. More divides than binds these films together, especially in terms of genre. The first is a comedy-drama, the latter – a musical adaptation of a fantasy comic book. What binds them together is the fact that both main characters are bakla – Filipino gays, although the word is very difficult to translate into Polish. It refers both to a “gay“ – a homosexual person who is in a relationship with another homosexual person, as well as a feminized man who performs his own sexuality and identity. Even though it would be very difficult to describe The Blossoming of Maximo Oliveros and Zsazsa Zaturnnah: Ze Moveeh as masterpieces of contemporary cinema, their pertinence should be seen in the courage to speak about the issue of homosexuality in the Philippines and the undeniable uniqueness of showing the social problems of the country in this manner.

Keywords

PL

the Philippines; Filipino cinema; bakla; gender; queer; camp; Zsazsa Zaturnnah; Auraeus Solito

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2014
• Volume: 14
• Issue: 23
• Pages: 244-248

Dates

published

2014-01-13

Contributors

author

Maria Delimata

• Uniwersytet im. Adama Mickiewicza w Poznaniu, Katedra Dramatu, Teatru i Widowisk

References

• Raight-gay’ relationships in the local culture, unheard of and incomprehensible to the dualistic, Western mind”. J.N.C. Garcia, Philippine Gay Culture, wyd. 2, University of the Philippines Press, Quezon City 2008, s. 250.
• J.N.C. Garcia, Performativity, the „Bakla” and the Orientalizing Gaze, w: Philippine Studies: have we gone beyond St. Louis?, Diliman, Quezon City 2008, s. 461.
• C. Vergara, Ang Kagilagilalas na Pakikipagsapalaran ni Zsazsa Zaturnnah, collected edition, Makati City 2003.
• S.S. Reyes, From Darna to Zsazsa Zaturnnah: Desire and Fantasy. Essays on Literature and Popular Culture, Anvil Publishing, Pasig City 2009, s. 22–23.

Identifiers

DOI

10.14746/i.2014.23.22