Professional Documents
Culture Documents
THESIS STATEMENT: Philippine contemporary independent films of the 21st century turned
screen representation of masculinity into an easy target of attack by equating lesser forces to the
male figure, effeminizing the male character and, consequently, increasing apparent affirmation
of homoerotic affairs.
century raise explicit issues that challenged the acknowledged construct of masculinity
and the male body, like issues on homoeroticism, male bonding, and “reconfiguration of
the structures of gender difference” along the lines of racial, class, and economic
B. Within the gay movement have there appeared specific discussions regarding the
II. The Bully Of The Lesser. Fears on male identity and autonomy surfaced as the looming
female’s presence threaten to control one’s action and one’s mind and to constitute one’s
very self.
A. In the film Torotot (de los Reyes, 2008), character Leo’s ego was impended by
the idea that his wife, Marie, was so much preoccupied by the call of her job.
Similar dispute to the male character works in Ben and Sam (Bacolod,2010).
B. The feminist agenda strives to give women greater economic parity with men in
dominates the theatre house, above his male patron. This ground also works for
own identity at her chosen line of work and making herself equal with his male
colleagues.
D. Determined to cover up for his shattered ego, independent films usually portray
men’s revenge as the exploitation of his predisposed strength and advantage over
weaker forces. Crudely put, when a man’s wife or a subordinate member get
uppity, he puts him or her down and gives him or her beating he or she deserves.
1. Sarge and Vic deadbeat drug addict and prostitute Gina in the film
Kinatay (Mendoza, 2009) for refusing to pay a debt she owes. This
premise also works for Project X: Deep Throat (Aquino & Jacinto, 2009)
as booking agent Lorna was killed for not paying the debt he owe to a
syndicate.
2. In Torotot (de los Reyes, 2008) Leo salvaged his waning self-worth by
tribe’s legacy caused familial trouble and led the father into beating his
III. Tears of transition. Emphasis on externality and the male figure is shifting focus, giving
way to a presumably more internal, emotional, and feminine dimension in contrast to the
A. Ben replaces her mother in doing household chores such as washing dishes and
B. In Torotot (de los Reyes, 2008), Leo’s masculinity overlaps with his vanity and
too much concern with his outer appearance – a trait which is closely labelled as
feminine.
his sons and Altajeros in Little Boy, Big Boy (2009) as the carefree graphic artist
nephew, Zack.
dissolves itself.
the relationship between men and women as constructed nor, for that matter, does it
allow the possibility of seeing homosexuality as a form of deviance and abnormality, but
characters.
in Ben and Sam (Bacolod, 2010) which goes like “Ikaw ba ‘yung
boyfriend ng anak ko?” (Are you the boyfriend of my son?) accentuates his
sexual pleasures with multiple partners has a very supportive parents who
irony.
1. The paradox of the concealed homosexual affair between JP and
William in the movie Daybreak (Alix Jr., 2008) occurs as we consider the
Maximo.
C. Philippine independent films of the 21st century has expended in the display of the
that director Delgado of SRO: Standing Room Only (Delgado, 2010) tried
to draw sympathy, and not loathness, to the gay attendees of the said
theatre house.
has seen fewer places and tenured in the world for a shorter duration in
Ang Pagdadalaga ni Maximo Oliveros (Yamamoto, 2005); for in fact, he
selves into a “beautiful night” (Gohetia, 2008) where they made love as
cinematography.
(Solito, 2009), and Little Boy, Big Boy (Altarejos, 2009) altogether
protagonists.
expose power struggle and sexual politics involved in the industry of male
V. In the final analysis, serious evidences lead to the inference that Philippine contemporary
independent films of the 21st century turned screen representation of masculinity into an
easy target of attack by equating lesser forces to the male figure, effeminizing the male
B. Far from being static and stable, masculinity is in constant danger of change and
viewership.