Miss Bulalacao: A Kineikonic (Re)configuration of Queer and Social Spaces
Type of Article: Main Article Authors: Yorong, Denzel Bacarra, Alyana Kaye Andres, Georgia DOI: https://doi.org/10.52518/2021.18.1-01yobaan APA Reference Entry:
Yorong, D., Bacarra, A. K., & Andres, G. (2021). Miss Bulalacao: A kineikonic (re)configuration of queer and social spaces. Plaridel, 18(1), 203-229. https://doi.org/10.52518/2021.18.1-01yobaan
Yorong, D., Bacarra, A. K., & Andres, G. (2021). Miss Bulalacao: A kineikonic (re)configuration of queer and social spaces. Plaridel, 18(1), 203-229. http://www.plarideljournal.org/article/miss-bulalacao-a-kineikonic-reconfiguration-of-queer-and-social-spaces/
June 2021 · Volume No.: 18 Issue No.: 1 Editor: Paragas, Fernando D. heteronormativitykineikonic modeNew Queer Cinemaqueersocial spaces
This study is concerned with how moving images linguistically participate in the meaning-making of queer and the theoretical prospects of New Queer Cinema. The material under investigation is Ara Chawdhury’s regional film Miss Bulalacao (2015) which illustrates the dynamic interactions between its queer character and the three social spaces the character navigates − the family, the community and the Church. Mobilizing Burn’s kineikonic method of metamodal analysis, the study reveals how these spaces are configured with oppressive heteronormativity, but are also actively challenged by the queer’s subversive possibilities, ultimately articulating how the film, as a kineikonic text, renders these spaces as dense sites of resistance and negotiation.