Queer Aswang Transmedia: Folklore as Camp

In recent years, the aswang—a supernatural creature of Philippine folklore that is often associated with female monstrosity and patriarchal misogyny—is being flamboyantly queered across a range of media. The aswang is a centuries-old transmedial, transgeneric figure whose monstrosity has been interp...

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Main Author: Lim, Bliss Cua
Format: text
Published: Archīum Ateneo 2024
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Online Access:https://archium.ateneo.edu/kk/vol1/iss24/8
https://archium.ateneo.edu/context/kk/article/1615/viewcontent/_5BKKv00n24_2015_5D_202.7_Article_Lim.pdf
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spelling ph-ateneo-arc.kk-16152024-12-18T09:18:02Z Queer Aswang Transmedia: Folklore as Camp Lim, Bliss Cua In recent years, the aswang—a supernatural creature of Philippine folklore that is often associated with female monstrosity and patriarchal misogyny—is being flamboyantly queered across a range of media. The aswang is a centuries-old transmedial, transgeneric figure whose monstrosity has been interpellated by gender-essentialist agendas while nonetheless epitomizing disruptive gender instabilities. In the handful of texts that comprise queer aswang transmedia—a 2011 Filipino novel (Ricky Lee’s Si Amapola sa 65 na Kabanata [Amapola in 65 Chapters]), mainstream film (Mga Bata ng Lagim [Children of Terror], dir. Mar S. Torres, 1964), and amateur digital video (Amabilis 2, Napoleon Lustre, 2011)—the aswang, an iconic female monster, is being destabilized and re- imagined. Gay men (or more accurately, bakla subjects) are occupying the place formerly reserved for monstrous women. This queering of aswang transmedia is a forceful, funny, yet undeniably risky reapproriation lodged in language (swardspeak) and a kind of pinoy [Filipino] camp style. This essay attempts to theorize a distinctly Filipino camp sensibility in relation to queer time. It wrestles with queer aswang transmedia’s implications for both temporality (since anachronism underpins the cultural figures of both bakla and aswang) and visibility (queer scholars argue that the bakla, stigmatized as effeminate and lower class, is increasingly the object of forcible bourgeois erasure in the face of the urban gay scene’s aspirations toward an imagined gay globality.) 2024-12-18T13:12:32Z text application/pdf https://archium.ateneo.edu/kk/vol1/iss24/8 info:doi/10.13185/1656-152x.1615 https://archium.ateneo.edu/context/kk/article/1615/viewcontent/_5BKKv00n24_2015_5D_202.7_Article_Lim.pdf Kritika Kultura Archīum Ateneo bakla manananggal (gay viscera sucker) pinoy camp temporality anachronism and co-evalness queering Philippine folklore baylan and asog (indigeneous Animist shamans)
institution Ateneo De Manila University
building Ateneo De Manila University Library
continent Asia
country Philippines
Philippines
content_provider Ateneo De Manila University Library
collection archium.Ateneo Institutional Repository
topic bakla manananggal (gay viscera sucker)
pinoy camp temporality
anachronism and co-evalness
queering Philippine folklore
baylan and asog (indigeneous Animist shamans)
spellingShingle bakla manananggal (gay viscera sucker)
pinoy camp temporality
anachronism and co-evalness
queering Philippine folklore
baylan and asog (indigeneous Animist shamans)
Lim, Bliss Cua
Queer Aswang Transmedia: Folklore as Camp
description In recent years, the aswang—a supernatural creature of Philippine folklore that is often associated with female monstrosity and patriarchal misogyny—is being flamboyantly queered across a range of media. The aswang is a centuries-old transmedial, transgeneric figure whose monstrosity has been interpellated by gender-essentialist agendas while nonetheless epitomizing disruptive gender instabilities. In the handful of texts that comprise queer aswang transmedia—a 2011 Filipino novel (Ricky Lee’s Si Amapola sa 65 na Kabanata [Amapola in 65 Chapters]), mainstream film (Mga Bata ng Lagim [Children of Terror], dir. Mar S. Torres, 1964), and amateur digital video (Amabilis 2, Napoleon Lustre, 2011)—the aswang, an iconic female monster, is being destabilized and re- imagined. Gay men (or more accurately, bakla subjects) are occupying the place formerly reserved for monstrous women. This queering of aswang transmedia is a forceful, funny, yet undeniably risky reapproriation lodged in language (swardspeak) and a kind of pinoy [Filipino] camp style. This essay attempts to theorize a distinctly Filipino camp sensibility in relation to queer time. It wrestles with queer aswang transmedia’s implications for both temporality (since anachronism underpins the cultural figures of both bakla and aswang) and visibility (queer scholars argue that the bakla, stigmatized as effeminate and lower class, is increasingly the object of forcible bourgeois erasure in the face of the urban gay scene’s aspirations toward an imagined gay globality.)
format text
author Lim, Bliss Cua
author_facet Lim, Bliss Cua
author_sort Lim, Bliss Cua
title Queer Aswang Transmedia: Folklore as Camp
title_short Queer Aswang Transmedia: Folklore as Camp
title_full Queer Aswang Transmedia: Folklore as Camp
title_fullStr Queer Aswang Transmedia: Folklore as Camp
title_full_unstemmed Queer Aswang Transmedia: Folklore as Camp
title_sort queer aswang transmedia: folklore as camp
publisher Archīum Ateneo
publishDate 2024
url https://archium.ateneo.edu/kk/vol1/iss24/8
https://archium.ateneo.edu/context/kk/article/1615/viewcontent/_5BKKv00n24_2015_5D_202.7_Article_Lim.pdf
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