{"id":1163,"date":"2011-11-18T00:00:00","date_gmt":"2011-11-17T23:00:00","guid":{"rendered":"https:\/\/bulegoa.org\/web\/tenth-session-of-illegal_cinema\/"},"modified":"2017-09-11T12:48:03","modified_gmt":"2017-09-11T10:48:03","slug":"tenth-session-of-illegal_cinema","status":"publish","type":"post","link":"https:\/\/bulegoa.org\/en\/tenth-session-of-illegal_cinema\/","title":{"rendered":"Tenth session of Illegal_Cinema"},"content":{"rendered":"<p>Screening of a film proposed by <strong>Juan Guardiola,<\/strong> followed by a discussion.<\/p>\n<p>Screening: &#8220;Mababangong bangungot \/ Perfumed Nightmare&#8221; (1977, Kidlat Tahimik)<\/p>\n<p>16 mm \/ Colour \/ Sound \/ 95 min.<\/p>\n<p>Kidlat Tahimik, meaning \u201ccalm or quiet light\u201d in Tagalog, is the pseudonym used by Eric de Guia, artist and mythical figure in Southern Asian experimental film. The artist, almost completely untrained as a filmmaker, made Mababangong Bangungot (internationally known as Perfumed Nightmare), in a semi-documentary, amateur style which includes autobiographical references. The film is a surreal, humorous, absolutely original tale of an innocent Philippine man, played by the artist, who, fascinated by American technology and culture, travels to the West and discovers the disadvantages of progress first-hand. Kidlat\u2019s utopian fantasy thus becomes his disillusion, a \u201cperfumed nightmare\u201d and a longing for a return to his idealised indigenous culture. A recurring element in the film is the figure of the bridge, as a metaphor of development and the union of past and present, reality and dreams, countryside and city, and tradition and modernity. A paradigm of Third World film for some Western intellectuals, for others the work is a magnificent example of postcolonial critique. A transnational allegory of the Philippine artist in his or her search for self affirmation and identity, with a mixture of realism, \u201cexoticism\u201d and irony, which has become a true cult piece for Philippine artists and filmmakers.<\/p>\n<p><strong>Juan Guardiola<\/strong> (1965) studied Philosophy and Arts and is an art historian, curator, conservator and the writer of several books and catalogues, notably, his studies on postcolonialism such as <em>Filipiniana<\/em>, <em>El Imaginario Colonial<\/em> and <em>Cinema Filipinas. Historia, teor\u00eda y cr\u00edtica f\u00edlmica (1899-2009)<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Screening of a film proposed by Juan Guardiola, followed by a discussion. Screening: &#8220;Mababangong bangungot \/ Perfumed Nightmare&#8221; (1977, Kidlat Tahimik) 16 mm \/ Colour \/ Sound \/ 95 min. Kidlat Tahimik, meaning \u201ccalm or quiet light\u201d in Tagalog, is the pseudonym used by Eric de Guia, artist and mythical figure in Southern Asian experimental [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[38],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Tenth session of Illegal_Cinema - Bulegoa<\/title>\n<meta name=\"description\" content=\"Ubicada en el barrio bilba\u00edno de Solokoetxe y centrada en la producci\u00f3n, la discusi\u00f3n, el intercambio de ideas y la materializaci\u00f3n de proyectos art\u00edsticos.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bulegoa.org\/en\/tenth-session-of-illegal_cinema\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tenth session of Illegal_Cinema - 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