Torture in Martial Law Cinema
Article
In the context of the broad historical amnesia and authoritarian nostalgia that attended the rehabilitation of the Marcoses in Philippine politics, the filmic representation of torture has served as a crucial element in constructing the memory of the dictatorship of Ferdinand Marcos, Sr. This article examines how torture in Martial Law cinema contributes to the cultivation of the public’s historical consciousness about the dictatorship. Touching on significant concerns about the representability of political violence and trauma, sense memory, and the question of sensationalism, the article analyzes the film ML (2018) by Benedict Mique, which graphically portrays Martial Law torture through conventions associated with torture porn. It highlights how the film’s explicit reenactment of political violence engenders reflections about the crisis of historical memory, and the continuities between Marcos Sr.’s dictatorial rule and fascist violence under the presidency of Rodrigo Duterte. The article explores how such generic adherence to violent cinema can advance our understanding of the complex sensory dynamics of filmic spectacle in shaping political memory and articulating socio-political commentary.
Camera EDSA Obscura
Article
Twenty years after the EDSA uprising, 20 independent filmmakers created 20 films showing different images of the country. Ending the project with the film Mistulang Kamera Obskura, the omnibus film project self-crtically staged its representation of the social and the political. The camera obscura has a long and fraught history as a metaphor of ideology, most prominently broached by Marx in his discussion of being, consciousness, and ideology. This paper discusses the relation of the camera obscura to discourses of visuality, knowledge, and ideology. Reading the moving images as concretizations of ideas, it seeks to limit those ideas as constitutive of the various ideologies of the EDSA uprising which the filmmakers represent in the process of “depicting truthful images of the nation.”
