Drawing on cultural policy, queer and feminist theory, materialist media studies, and postcolonial historiography, Bliss Cua Lim analyzes the crisis-ridden history of Philippine film archiving—a history of lost films, limited access, and collapsed archives.
Argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple 'immiscible' temporalities that strain against homogeneous time.
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