Papers by Nicole Cadelina
A thesis submitted in partial fulfilment of the requirements of Bachelor of Arts (Honours) Film S... more A thesis submitted in partial fulfilment of the requirements of Bachelor of Arts (Honours) Film Studies at UNSW Sydney
Final thesis mark: 89/100 (Honours Class 1)
Philippine cinema has a rich history of engaging with national politics and discourse, beginning with the golden age of Philippine cinema during Ferdinand Marcos’ era of martial law (1972-1981). From Lino Brocka to Mike de Leon, these directors have scrutinised ideas of the nation and national identity through depictions of presidential corruption and state-sanctioned violence. This thesis recognises that this political engagement has continued in contemporary Philippine cinema of the last decade — from retrospective films meditating on the post-Marcosian state, and allusions to a national massacre during Gloria Macapagal-Arroyo’s term, to the current reign of Rodrigo Duterte and his so-called “War on Drugs.”
In recognising this, I investigate how a selection of films produced during the last decade communicate past and present corruption in the Philippines, by analysing how these directors represent nationalism and national identity through a variety of formal, generic, and stylistic approaches. I argue that contemporary Philippine cinema exposes the “myth” of a fair and democratic unified nation through confronting scenes of immorality, unlawfulness, and authoritarian violence. Drawing on the works of several film theorists to support my analysis, I focus on scenes of violence and immorality that are reflective of the nationalist violence instigated by presidential dictators who instil the false promise of a national democracy across the Philippines. These debates and discussions will be generated through a formal and thematic analysis of the following films — Norte, the End of History (Lav Diaz, 2013), Birdshot (Mikhail Red, 2016), and Fan Girl (Antoinette Jadaone, 2020).
Drafts by Nicole Cadelina
Reading Judith Butler's conception of gender performativity through Phoebe Waller-Bridge's comedy... more Reading Judith Butler's conception of gender performativity through Phoebe Waller-Bridge's comedy-drama, Fleabag (2016). Unpublished essay written as a minor assessment for Uses of Theory during Honours.
Uploads
Papers by Nicole Cadelina
Final thesis mark: 89/100 (Honours Class 1)
Philippine cinema has a rich history of engaging with national politics and discourse, beginning with the golden age of Philippine cinema during Ferdinand Marcos’ era of martial law (1972-1981). From Lino Brocka to Mike de Leon, these directors have scrutinised ideas of the nation and national identity through depictions of presidential corruption and state-sanctioned violence. This thesis recognises that this political engagement has continued in contemporary Philippine cinema of the last decade — from retrospective films meditating on the post-Marcosian state, and allusions to a national massacre during Gloria Macapagal-Arroyo’s term, to the current reign of Rodrigo Duterte and his so-called “War on Drugs.”
In recognising this, I investigate how a selection of films produced during the last decade communicate past and present corruption in the Philippines, by analysing how these directors represent nationalism and national identity through a variety of formal, generic, and stylistic approaches. I argue that contemporary Philippine cinema exposes the “myth” of a fair and democratic unified nation through confronting scenes of immorality, unlawfulness, and authoritarian violence. Drawing on the works of several film theorists to support my analysis, I focus on scenes of violence and immorality that are reflective of the nationalist violence instigated by presidential dictators who instil the false promise of a national democracy across the Philippines. These debates and discussions will be generated through a formal and thematic analysis of the following films — Norte, the End of History (Lav Diaz, 2013), Birdshot (Mikhail Red, 2016), and Fan Girl (Antoinette Jadaone, 2020).
Drafts by Nicole Cadelina
Final thesis mark: 89/100 (Honours Class 1)
Philippine cinema has a rich history of engaging with national politics and discourse, beginning with the golden age of Philippine cinema during Ferdinand Marcos’ era of martial law (1972-1981). From Lino Brocka to Mike de Leon, these directors have scrutinised ideas of the nation and national identity through depictions of presidential corruption and state-sanctioned violence. This thesis recognises that this political engagement has continued in contemporary Philippine cinema of the last decade — from retrospective films meditating on the post-Marcosian state, and allusions to a national massacre during Gloria Macapagal-Arroyo’s term, to the current reign of Rodrigo Duterte and his so-called “War on Drugs.”
In recognising this, I investigate how a selection of films produced during the last decade communicate past and present corruption in the Philippines, by analysing how these directors represent nationalism and national identity through a variety of formal, generic, and stylistic approaches. I argue that contemporary Philippine cinema exposes the “myth” of a fair and democratic unified nation through confronting scenes of immorality, unlawfulness, and authoritarian violence. Drawing on the works of several film theorists to support my analysis, I focus on scenes of violence and immorality that are reflective of the nationalist violence instigated by presidential dictators who instil the false promise of a national democracy across the Philippines. These debates and discussions will be generated through a formal and thematic analysis of the following films — Norte, the End of History (Lav Diaz, 2013), Birdshot (Mikhail Red, 2016), and Fan Girl (Antoinette Jadaone, 2020).