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C I T Y O F S C R E E N S C I T Y O F S C R E E N S IMAGINING AUDIENCES IN MANILA’S ALTERNATIVE FILM CULTURE JASMINE NADUA TRICE duke university press durham and london 2021 © 2021 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Cover designed by Drew Sisk Text designed by Amy Ruth Buchanan Typeset in Chaparral by Westchester Publishing Ser vices Library of Congress Cataloging- in- Publication Data Names: Trice, Jasmine Nadua, [date] author. Title: City of screens : imagining audiences in Manila’s alternative film culture / Jasmine Nadua Trice. Description: Durham : Duke University Press, 2021. | Includes bibliographical references and index. Identifiers: lccn 2020021680 (print) lccn 2020021681 (ebook) isbn 9781478010586 (hardcover) isbn 9781478011699 (paperback) isbn 9781478021254 (ebook) Subjects: lcsh: Motion pictures—Philippines— Manila—Distribution. | Motion picture theaters— Philippines—Manila. | Independent films— Philippines—Manila. | Motion picture industry—Philippines—Manila. Classification: lcc pn1993.5.p6 t753 2021 (print) | lcc pn1993.5.p6 (ebook) | ddc 791.4309599/16—dc23 lc record available at https://lccn.loc.gov/2020021680 lc ebook record available at https://lccn.loc.gov/20200 21681 Cover art: Map of Metro Manila, Philippines, adapted from the author’s website, cityofscreens.space. The interactive map charts film institutions, screening spaces, and film locations. For my mom, NANCY NADUA TRICE This page intentionally left blank CONTENTS ACKNOWL EDGMENTS ix INTRODUCTION 1 ONE. Revanchist Cinemas 39 and Bad Audiences, Multiplex Fiestas and Ideal Publics TWO. The Quiapo Cinematheque and 79 Urban- Cinematic Authenticity THREE. Alternative Exhibition and 113 the Rhythms of the City FOUR. “Not for Public Exhibition”: 153 Cinema Regulation, Alternative Cinema, and a Rational Body Politic FIVE. “Hollywood Is Not Us”: 189 National Circulation and the Speculative State EPILOGUE 230 NOTES 2 41 BIBLIOGRAPHY 281 INDEX 299 This page intentionally left blank ACKNOWL EDGMENTS This book was a collaborative proj ect in many ways, and I am indebted to numerous readers and friends for their comments and advice. I would like to thank my cousins in Las Piñas, Metro Manila, especially RJ Vekka Nadua, for contacting me when I was a gradu ate student in Bloomington, Indiana, and spurring my interest in returning to the Philippines. When I arrived, I benefited from the care of the entire Nadua clan— Tito Bobie and Tita Estelle, Tito Butch and Tita Riza, and all the cousins: Toni, Frances, Patrick, Carlo, and Joan. As I settled into Quezon City, Aida Santos, Diego Maranan, and Kharen Surita made me feel like I had a f amily away from home. Aida’s and Diego’s generosity and commitments to both art and activism were a constant source of inspiration. Ed Maranan generously shared his insights when he was a member of the Film Development Council, and like many others, I was deeply saddened by his passing. I owe much gratitude to my professional home in Manila, Isis In- ternational (now Io International). Isis had welcomed feminists from around the world for over two de cades when I arrived, and I learned a great deal about feminist media activism in my time there. In par tic u- lar, I’m grateful for the support of my friends and colleagues Danicar Mariano, Tesa De Vela, and Mira Ofreneo, who welcomed me into the People’s Communications for Development proj ect.