Monthly Archives: February 2018

Season of the Devil (2018) :: Links

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QUICK FACTS

Original Title :: Ang Panahon ng Halimaw
English Title :: Season of the Devil
Year :: 2018
Production Company :: Epicmedia, Sine Olivia Pilipinas, Globe Studios
Producers :: Bianca Balbuena, Lav Diaz, Quark Henares, Bradley Liew
Duration :: 3 hrs 54 mins
Written and directed :: Lav Diaz
Director of Photography :: Larry Manda
Editing :: Lav Diaz
Music :: Lav Diaz
Sound Design :: Corinne De San Jose
Sound :: Adrian Yew Erman
Production Design :: Popo Diaz
Costumes :: Mikee Dela Cruz
Make-up :: Syrel Lopez
Assistant Director :: Hazel Orencio
Production Manager :: Hui Yee Gan
Cast :: Pinky Amador (Kwago), Angel Aquino (Anghelita), Don Melvin Boongaling (Militia 1), Junji Delfino (Aling Maria), Bituin Escalante (Kwentista), Jonathan Francisco (Young Hugo), Bart Guingona (Paham), Dub Lau (Nong), Bradley Liew (Militia 3), Ian Lomongo (Ian), Shaina Magdayao (Lorena Haniway), Hazel Orencio (Tenyente), Piolo Pascual (Hugo Haniway), Lilit Reyes (Militia 2), Joel Saracho (Ahas), Noel Sto. Domingo (Chairman Narciso)

REVIEWS

Official

  • Padilla, A. (2018, February 22). BERLINALE 2018 : SEASON OF THE DEVIL BY LAV DIAZ. Desistfilm. Retrieved from [link]
  • Rithdee, K. (2018, February 22). Devil on the doorstep. Bangkok Post. Bangkok. Retrieved from [link]
  • Jagernauth, K. (2018, February 22). Lav Diaz’s Mesmerizing Political Musical “Season Of The Devil” [Berlin Review]. Retrieved February 24, 2018, from [link]
  • Chatrian, C. (2018, February 21). Reversing the Rules – A Brief Reflection on Lav Diaz and His Latest Film. Retrieved February 24, 2018, from [link]
  • Kasman, D. (2018, February 21). Berlinale 2018. It’s Dark Here. Retrieved February 24, 2018, from [link]
  • Romney, J. (2018, February 20). “Season Of The Devil”: Berlin Review. Retrieved February 24, 2018, from [link]
  • Chervel, T. (2018, February 20). Oper ist Aufopferung! Lav Diaz’ “In Zeiten des Teufels” (Wettbewerb). Perlentaucher.de Das Kulturmagazin. Retrieved from [link]
  • Lodge, G. (2018, February 20). Berlin Film Review: “Season of the Devil.” Variety. Retrieved from [link]
  • Sozzo, S. (2018, February 20). #Berlinale68 – Season of the Devil, di Lav Diaz 20. Retrieved February 24, 2018, from [link]
  • Tsui, C. (2018, February 20). “Season of the Devil” (’Ang Panahon ng Halimaw’): Film Review | Berlin 2018. Retrieved February 24, 2018, from [link]

ARTICLES

Official Photo

  • Escala, J. (2018, February 24). Piolo, Shaina at Lav Diaz, dala ang bandila ng ‘Pinas sa Berlinale. Balita. Manila. Retrieved from [link]
  • De Dios, K. (2018, February 22). World premiere ng pelikulang “Ang Panahon ng Halimaw” sa Berlin sold out na. DWIZ882. Manila. Retrieved from [link]
  • Awit, J. G. (2018, February 23). Diaz shows rock opera in Berlin. SunStar, pp. 1–6. Manila. Retrieved from [link]
  • Lav Diaz’s “Panahon ng Halimaw” debuts in Berlin: What critics are saying. (2018, February 21). ABS-CBN News. Manila. Retrieved from [link]
  • Sala, J. (2018, February 20). Crónica Berlinale 2018: “Season of the Devil” the act of killing. Retrieved February 24, 2018, from [link]
  • Ehrlich, D., & Kohn, E. (2018, February 12). 10 Must-See Films at the 2018 Berlin International Film Festival. indieWire. USA. Retrieved from [link]
  • Lav Diaz returns to Berlin with musical movie. (2018, January 26). Business World. Manila. Retrieved from [link]
  • San Diego, B. J. (2018, January 22). Lav , Piolo make Berlinale comeback. INQUIRER.net. Manila. Retrieved from [link]
  • Cruz, M. R. (2017, October 2). Shaina , who hates singing , stars in Lav Diaz screen musical. INQUIRER.net. Manila. Retrieved from [link]

 

AUDIO-VISUAL MATERIALS 

  • Official Trailer

 

  • Ang Panahon ng Halimaw | Press Conference Highlights | Berlinale 2018

  • WATCH: ‘Ang Panahon ng Halimaw’ makes world premiere at the Berlinale (RAPPLER, Feb 22, 2018)

  • FIFIRAZZI: Piolo and Shaina’s ‘Ang Panahon ng Halimaw’, sold out sa Berlin (PTV, February 22, 2018)

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Is the Museum a Battlefield? | Hito Steyerl

Hito Steyerl, multi-media artist, asks a provocative question: Is the museum a battlefield?

“You cannot have a revolution if you don’t storm a museum.” – Hito Steyerl

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Hauntology #1: Spectacle/Spectrality

excerpt from Ghost Dance (Ken McMullen / UK / 1983)

Also, another excerpt from:

de Baecque, A., Jousse, T., & Kamuf, P. (2015). Cinema and Its Ghosts: An Interview with Jacques Derrida. Discourse, 37(1–2), 22. https://doi.org/10.13110/discourse.37.1-2.0022

Cahiers du cinéma: In Echographies of Television, you speak directly about cinema. About images more generally, specifically television, but also about cinema with regard to the film in which you had a role. You connect cinema to a particular experience, that of phantomality . . .

Derrida: The cinematic experience belongs thoroughly to spectrality, which I link to all that has been said about the specter in psychoanalysis—or to the very nature of the trace. The specter, which is neither living nor dead, is at the center of certain of my writings, and it’s in this connection that, for me, a thinking of cinema would perhaps be possible. What’s more, the links between spectrality and ilmmaking occasion numerous reflections today. Cinema can stage phantomality almost head-on, to be sure, as in a tradition of fantasy film, vampire or ghost films, certain works of Hitchcock . . . This must be distinguished from the thoroughly spectral structure of the cinematic image. Every viewer, while watching a film, is in communication with some work of the unconscious that, by definition, can be compared with the work of haunting, according to Freud. He calls this the experience of what is “uncanny” (unheimlich). Psychoanalysis, psychoanalytic reading, is at home at the movies. First of all, psychoanalysis and filmmaking are really contemporaries; numerous phenomena linked to projection, to spectacle, to the perception of this spectacle, have psychoanalytic equivalents. Walter Benjamin realized this very quickly when he connected almost straightaway the two processes: film analysis and psychoanalysis. Even the seeing and perception of detail in a film are in direct relation with psychoanalytic procedure. Enlargement does not only enlarge; the detail gives access to another scene, a heterogeneous scene. Cinematic perception has no equivalent; it is alone in being able to make one understand through experience what a psychoanalytic practice is: hypnosis, fascination, identification, all these terms and procedures are common to film and to psychoanalysis, and this is the sign of a “thinking together” that seems primordial to me. What’s more, a screening session or séance is only a little longer than an analytic one. You go to the movies to be analyzed, by letting all the ghosts appear and speak. You can, in an economical way (by comparison with a psychoanalytic séance), let the specters haunt you on the screen.

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IFFR 2018 Script and Project Development Support (Deadline: March 1, 2018)

The International Film Festival Rotterdam, one of the most prestigious film festival in Europe, is offering a Script and Project Development grant to talented filmmakers who live and work in countries identified by the film festival (See list here). The deadline of submission is March 1, 2018. As mentioned in their announcement here, the grant can be ‘used for the further development of a script (e.g. research, writing, translation or hiring a coach or script consultant), but can also be used to present a project to financiers or other potential partners at (international) co-production meetings or film festivals.’ The grant offers at a maximum of €10,000 per project. For more information, visit their post here.

 

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Dialectical Materialism (Proletarian TV, 2015)

Notes to come.

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Body Parts #1

BODIES, WORK, CAPITAL
Where are the bodies, anyway? Bodies are first of all at work. First of all,
bodies are hard at work. First of all, bodies are going to work, coming home
from work, waiting for rest, taking it and promptly leaving it, and work-
ing, incorporating themselves into merchandise, themselves merchandise,
a work force, nonaccumulable capital, sellable, exhaustible in the market of
accumulated, accumulative capital. Creative techne ¯ creates bodies for the fac-
tory, shop-floor, construction site, office, partes extra partes combining with
the entire system through figures and movements, pieces, levers, clutches,
boxes, cutouts, encapsulations, milling, uncoupling, stamping, enslaved sys-
tems, systemic enslaving, stocking, handling, dumping, wrecks, controls,
transports, tires, oils, diodes, universal joints, forks, crankshafts, circuits,
diskettes, telecopies, markers, high temperatures, pulverizings, perforations,
cablings, wirings, bodies wired to nothing but their minted force, to the sur-
plus-value of capital collected and concentrated there.

– Jean-Luc Nancy, p. 109, Corpus (Fordham University Press: 2008)


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Films

God’s Own Country (Francis Lee / UK / 2017)
Your Name (Kimi no Na Wa, Makoto Shinkai / Japan / 2016)
8 1/2 (Federico Fellini / Italy / 1963)
Safe (Todd Haynes / USA / 1995)

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Remain(s) #1

ON REMAIN(S) | WHAT REMAINS 
So no one can live here. Whether dead or alive. It is neither a house nor a burial place. Who contemplates such a structure, who can do so, one wonders. And how can an altar, a habitat, or a burial monument, town planning [urbanisme] or a mausoleum, the family and the State, find their origins there.
 Jacques Derrida, p.3, Glas

 

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Three Billboards Outside Ebbing, Missouri (Martin McDonagh / 2017)
The Killing of the Sacred Deer (Yorgos Lanthimos / 2017)

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January Loot pt. 1: Eagleton, Jameson, Cavell

Capture

This year 2018 will be year of reading. With preparatory literature review for thesis at hand, I am expecting a flood of literature this year. Last year was a slow year for me. I was not rigorous with my reading, although I finished close readings of two books Virilio’s The Open Sky and  Giorgio Agamben’s The Open: Man and Animal for a withdrawn article in supposed book publication deal for Edinburgh University Press. I wish I had more time for reading. This section will regularly feature some of my surveys of literature (books/manuscripts/journals), most of which are related to my thesis or studies.

Let me start by announcing a recent book purchase I made just this month from BLINK.PH. The online bookstore BLINK.PH was on clearance sale last January the 1st of 2018 and I made it a point to start a year with a decent book purchase. In my five-day New Year vacation at Bicol, I failed to visit our local bookstore at Sorsogon City, so I had to make sure I buy online.

Recent Book purchase

book grabs from BLINK.PH’s 2018 Clearance Sale

BOOK-TOOLS: On Deleuzo-Guattarian Literature

Somewhere in A Thousand Plateaus, Deleuze and Guattari insisted that a book is a tool. We may never understand fully what they meant by that, but the passage come from the first page of Chapter 1: Rhizome, which says:

‘A book has neither object nor subject; it is made of variously formed matters, and very different dates and speeds. To attribute the book to a subject is to overlook this working of matters, and the exteriority of their relations. It is to fabricate a beneficent God to explain geological movements. In a book, as in all things, there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification.’ (p. 3, A Thousand Plateaus)

By tool, Deleuze and Guattari is posturing that each book is generally a multiplicity and it is necessarily structured in a such a way that it  generates a temporal deviation from the structure of reality. It is, in this sense, a machine for a book opens the open. It acts as a differential machine of the world in the same way how film works to open time from its surrendered status of completion. Time in both book-form and film-form neither announces its completion. A book always approaches a defamaliarized state. Or, in simpler terms, a book in itself is neither complete nor gives one a sense of complete determination. It functions as a tool because it unhinges various determinations of reality and reformulates them in various ways.

To think of books as tools, one must carry out a necessary ontological step of rethinking the act of reading. The act of reading, for a long time, has been related to a branch of philosophy called epistemology – or the branch of knowledge or knowing – that specializes on various ways of knowing the world. Reading is a method of knowing the world. To read in order to know: this mantra solidifies the Platonic metaphor of the sun which romanticizes the epistemological idea of knowledge as illumination, meaning, knowledge can only be rendered intelligible only if it comes from goodness. Goodness here should not taken literally. ‘Goodness’ veils the transparent conditions of the institutional moralityIn Deleuze and Guattari’s innovative reversal of this Platonic form of epistemology, knowledge is reinterpreted as a machinic assemblage, which constitute the very act of knowing as connected to the generation of knowledge. In a machinic assemblage, all else is connected by disjunctive synthesis.

A book is an assemblage of this kind, and as such is unattributable. It is a multiplicity-but we don’t know yet what the multiple entails when it is no longer attributed, that is, after it has been elevated to the status of a substantive.  (p. 4, A Thousand Plateaus)

The tool-like capacity of the book-assemblage lies it its unattributable multiplicity. The book’s content holds enough potential to reformalize the structure of reality.

Part 1. Eagleton, Jameson, Cavell

Terry EagletonTerry Eagleton’s The Task of a Critic is an essential book to my thesis. My thesis on Lav Diaz will proceed as a critique of long duration, and any resource that has the words critic, criticism, critique is assemblagically connected to my critical posturing towards Lav Diaz. I am not very familiar with Eagleton’s works, except for an interesting essay in Ghostly Demarcations: A Symposium on Jacques Derrida’s Specters of Marx titled ‘Marxism Without Marxism’. Eagleton’s scathing critique of Derrida’s Specters of Marx is quite a satisfying read. It shows Eagleton’s clear commitment to a type of ‘sober’ vanguard Marxism that I am aligned with except, of course, that I come from the context surrounding material productions of postcolonial Philippine culture. Eagleton’s commentary on Derrida’s book goes like this:

Derrida has now taken Marxism on board, or at least dragged it halfway up the gangplank, because he is properly enraged by liberal-capitalist complacency, but there is also something unavoidably opportunist about his political pact, which wants to exploit Marxism as critique, dissent, conveniently belabouring instrument, but is far less willing to engage with its positivity. What he wants, in effect, is a Marxism without Marxism, which is to say a Marxism on his own coolly appropriative terms. 

(p. 86, Ghostly Demarcations)

Like his essay on Specters of Marx, the critical school that Eagleton subscribe to is unforgiving. Yet, among Anglo-Western theorists, Eagleton has a sustained genealogical and reflexive relationship with the idea of criticism. His book The Function of Criticism offers a genealogical study of the European literary criticism. The analysis of historical punctum of critique and criticism is highly important in Marxist studies, in particular, on determining the force and impulse of crisis in relation to critical activity such as writing criticism.

The Task of the Critic offers a similar approach as an assembly of dialogical encounters between Eagleton and Matthew Beaumont. While The Task of Critic is written under the semantic worldview of the literary theory and criticism, Eagleton’s insights is equally applicable to any field including film theory and criticism. Perhaps along the way, in reading Eagleton’s tool-kit book, one will learn to become what he wants us to become: to be modern critics who struggle against the bourgeois state. Fredric Jameson

Fredric Jameson’s Fables of Aggression: Wyndham Lewis, The Modernist as Fascist is one of those books that you cannot just put down. This is a literary critique of Wyndham Lewis’ works. Wyndham Lewis is one of the least known modernist writers in the era when James Joyce and Virginia Woolf conditioned the literary production of the era. Jameson’s book offers a critical outlook of the life and work of Lewis by ‘draw[ing] on the methods of narrative analysis and semiotics, psychoanalysis, and ideological analysis to construct a dynamic model of the contradictions from which Lewis’s incomparable narrative corpus is generated, and of which it offers so many varying symbolic resolutions.’ Jameson’s critical program is conditionally what I intend to deploy for my thesis. However, my study will focus on the critique of cinematic temporality in the cinema of Lav Diaz. This book might come in handy in finding a strategy of unpacking the contradictions in Lav Diaz’s cinema. Stanley Cavell

Another book of interest is Stanley Cavell’s Cities of Words: Pedagogical Letters on a Register of the Moral Life. Stanley Cavell is one of the proponents of film-philosophy. His landmark work The World Viewed: Reflections on the Ontology of Film elucidates a brand of film-philosophical reflection that activates the link between filmic experience with philosophical memory. In a way, what Cavell refers to as an ontology of film is basically linked to a type of experiential ontology spread in the backdrop of the question of modernism. In Cities of Words, Cavell develops a different kind of film-philosophical reflection. In this book, he tries to uncover the link of cinema and philosophy by reading side-by-side philosophers and film. Cavell’s book generally argues that films can create ideal forms of justice, in particular, it can create an image of a Just City.

Cavell’s book can be an important resource to film-philosophical inflected-research as it provides a methodological tool in crossing between film and philosophy.

 

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