Tolentino R B
Film Department, Mass Communication, University of the Philippines, Diliman, Quezon City.
J Homosex. 2000;39(3-4):325-37. doi: 10.1300/J082v39n03_17.
Philippine cinema has long afforded spectators constructions of queerness not only deviating from Western queer theory but also from other continentally Asian homosexual traditions. Using as my primary text Lino Brocka's 1978 film My Father, My Mother, I examine how indigenous ideas of transsexuality and transgender are not only constructed by alternatively sexual images manufactured and appropriated by the Marcos regime, but how those sexual images construct and perpetuate class divisions as criteria of an ongoing Philippine sexual economy.
长期以来，菲律宾电影为观众提供了一些酷儿形象，这些形象不仅偏离了西方酷儿理论，也有别于亚洲其他地区的同性恋传统。以利诺·布罗卡1978年的电影《我的父亲，我的母亲》作为主要文本，我探讨了本土的变性和跨性别观念是如何不仅由马科斯政权制造和挪用的另类性形象构建而成，还探讨了这些性形象如何构建并延续阶级划分，将其作为菲律宾当下性经济的一个标准。
