Guest Editor's Introduction
Although vital to the existence of the Philippine movie industry, stardom has rarely garnered scholarly attention apart from the auteurist (film-artist) or biographical modes. Part of the reason is external, in the sense that media-studies approaches to star-text discourses emerged relatively recent...
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| Format: | text |
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Archīum Ateneo
2024
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| Online Access: | https://archium.ateneo.edu/kk/vol1/iss25/14 https://archium.ateneo.edu/context/kk/article/1652/viewcontent/_5BKKv00n25_2015_5D_204.0_Introduction.pdf |
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| Institution: | Ateneo De Manila University |
| Summary: | Although vital to the existence of the Philippine movie industry, stardom has rarely garnered scholarly attention apart from the auteurist (film-artist) or biographical modes. Part of the reason is external, in the sense that media-studies approaches to star-text discourses emerged relatively recently, and may still be in the process of further refinement. However, a crucial internal reason is that the primary Philippine example, Nora Aunor, inadvertently affirms the earlier, now-conventional approach by virtue of her singular dominance as both top star and top multimedia performer. This study will track relevant trends in star studies vis-à-vis Philippine scholarly output, and will then look at an extreme example of Aunor-as-auteur by way of demonstrating the predicament her presence has posed for local scholarship. |
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