postkolonyalismo addresses reactions to colonialism in a context that is not

Postkolonyalismo addresses reactions to colonialism

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postkolonyalismo “addresses reactions to colonialism in a context that is not necessarily determined by temporal constraints: cultural productions become textual/cultural expressions of resistance to col onization” (Gilbert at Tompkins 2). Mga Kasama sa Pakikibaka: Postkolonyalismo sa Cinema “Cinema, as an element in a cultural process, will need to be, in the final analysis, the language of a society.” Glauber Rocha (13) Sa mundo ng pelikula, marami na ring filmmaker ang gumamit ng midyum ng pelikula upang harapin at talakayin ang samu’t saring isyung pumapaloob sa imperyalismo at kolonyalismo. Para sa kanila, ang sining ng pelikula ay maaaring gamiting sandata sa paglaya ng kaisipan at kamalayan mula sa naghaharing gahum. Sa kanilang mga sinulat at nilikha, makikita natin kung paano ang teoryang postkolonyal ay nagagamit sa sining ng pelikula. Sa katunayan, sa postkolonyal na panahon kung ating gagawing batayan ang sinabi ni Jane Hiddleston ay marami nang filmmaker, mga kilos pampelikula (film mov ements) at pambansang cinema ang umusbong sa iba’t ibang bansang may kasaysayan ng imperyalismo at kolonyalismo. Ang manifestong sinulat ng Rusong filmmaker na si Dziga Vertov ang isa sa mga unang naglatag ng konsepto at estetika ng mapagpalayang uri ng cinema. Produkto ng Bolshevik Revolution noong 1916-1917, walang takot na nilabanan ni Vertov ang fiksyonal na pelikula ng Rusya pati na rin iyong mula sa Hollywood. Ayon sa kanya: “ Existing cinema, cinema as a
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25 commercial object and cinema as a field of art, has nothing in common with our work” (kay Williams 28). Para kay Vertov, ang ganitong klase ng cinema, na likha ng mga burgis, ay nagbibigay ng maling ilusyon upang huwag makita ng masa ang tunay na kalagayan ng mundong kanilang ginagalawan. Tinawag ito ni Vertov na “cinema nicotine” dahil sa kakayahan nitong linlangin ang persepsiyon ng manonood: To intoxicate and suggest the essential method of the fiction film approximates it to a religious influence, and makes it possible after a certain time to keep a man in a permanent state of over- excited unconsciousness […] Musical shows, theatrical and cine-theatrical performances and so on above all act upon the subconscious of the spectator or listener, distorting his protesting consciousness in every possible way. (Vertov 82-83) Walang kaduda-duda kay Vertov ang mapanlasong epekto ng mainstream na pelikula sa isipan ng manonood. Sinegundahan pa niya ito ng pagsulat ng isa pang manifesto kung saan sinabi niya na dapat nang ibasura ang fiksyonal na pelikul a sapagkat ito’y isang mapanupil na sandata ng mga burgis laban sa masa: Film drama is the opium of the masses. Down with the immortal kings and queens of the screen! Long live the ordinary people filmed in everyday life and at work!
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