Fall of Grace: Nora Aunor as Cinema
Nora Aunor is enlisted in this speculation as a medium in the register of both the cinema and the transmission of spirit. The key trajectory is the oft-cited film Himala, which opens up a conceptual space for mediumship, the technology of the actress, her biography and corpus of art, and the devotio...
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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/iss25/16 https://archium.ateneo.edu/context/kk/article/1654/viewcontent/_5BKKv00n25_2015_5D_204.2_ForumKritika_Flores.pdf |
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| Institution: | Ateneo De Manila University |
| Summary: | Nora Aunor is enlisted in this speculation as a medium in the register of both the cinema and the transmission of spirit. The key trajectory is the oft-cited film Himala, which opens up a conceptual space for mediumship, the technology of the actress, her biography and corpus of art, and the devotion to her person. The essay constellates a set of texts including the sculpture in honor of Elsa, the main character of Himala, the film Silip, and the life of a fan. Nora, the performative vessel of Elsa, becomes fundamentally cinematic. It is through her that Elsa is fleshed out as a miracle worker of vexing potency. Nora is herself a testament to the transformative potential of the technology of the cinema. |
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