![Sample our Humanities journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5939/TOC-Subject-Sample-2021-Humanities.jpg"})
Notes
1. These alternative venues included the Sinekatipunan film series held at Mag:net café and gallery, the Mogwai Cinematheque, Indie Sine, a multiplex screen in Robinson's Galleria, and occasional festivals held in mall multiplex cinemas.
2. For example, SEAPAVA (Southeast Asia & Pacific Audio Visual Archivists) has worked on repatriating 1300 cans of Lao film from the Vietnam Film Institute; see <http://archives.pia.gov.ph/seapavaa/?m=4>
3. The term manilenyo is used to describe someone who lives in Manila.
4. I will speak more of Lim's work on the archive and cinephilia in the Philippines below. Several authors have examined Bollywood and cinephilia (Bhattacharya Citation2004; Mehta Citation2006). Framework's 2009 dossier included a piece by scholar of African cinema Aboubakar Sanogo regarding the “schizophrenic cinephilia” brought about by colonialism, which enabled cinemagoing as a part of its civilizing mission, even as audiences adored the films of Hollywood, Egypt, and Bollywood. In a South Korean context, Soyoung Kim has discussed the hybrid relation between cinephilia and Korean “cine-mania,” a term arising in the 1990s to describe Korean youth who consume large quantities of film (Kim 2005).
5. Mehta's Citation(2006) and Kim's (2005) works are exceptions here. Kim's work deals with the context of film consumption and film festivals in South Korea in the 1990s, and is closest to mine in terms of its comparative approach and emphasis on the idea of cinephilia itself.
6. One of Manila's most ardent film critics, a cinephile in the classical sense, was the late Alexis Tioseco. Tioseco noted that upon founding his Southeast Asian film criticism website, the title, Criticine, was met with some local skepticism: “Many filmmakers, especially filmmakers in the Philippines, have a problem with the word critic. We have little to no culture of healthy polemics in the country, as any attempt to consider fault is taken as a personal attack.” Rogue, July Citation2008, http://rogue.ph/features/2013/1/10/the-letter-i-would-love-to-read-to-you-in-person.
7. See Balcerzak and Sperb's two-volume collection of essays on cinephilia and the digital.
8. The translations are my own.
9. See, for example, essays published around the time that the term transnational rose to prominence, such as Kaplan Citation1993; Rothman Citation1993, and Yoshimoto Citation1991. Also see Teshome Gabriel's discussion of Third Cinema and film theory (1986). More recent responses to the idea of transnationalism include Berry 2010, Chen Citation2010, and Sarkar Citation2010.
Additional information
Notes on contributors
Jasmine Nadua Trice
Jasmine Nadua Trice is an Assistant Professor of Cinema and Media Studies at the University of California – Los Angeles. Prior to her time at UCLA, she taught at the National University of Singapore and worked in feminist media development in Manila. She is currently completing a book about independent film culture in Manila, Philippines.