This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.
The Boy The Girl
The Rat The Rabbit
and the Last Magic Days
Chapbook, 2018
Republic of Carnage:
Three Horror Stories
For the Way We Live Now
Chapbook, 2018
Bamboo Girls:
Stories and Poems
From a Forgotten Life
Ateneo de Naga University Press, 2018
Don't Tell Anyone:
Literary Smut
With Shakira Andrea Sison
Pride Press / Anvil Publishing, 2017
Cupful of Anger,
Bottle Full of Smoke:
The Stories of
Jose V. Montebon Jr.
Silliman Writers Series, 2017
First Sight of Snow
and Other Stories
Encounters Chapbook Series
Et Al Books, 2014
Celebration: An Anthology to Commemorate the 50th Anniversary of the Silliman University National Writers Workshop
Sands and Coral, 2011-2013
Silliman University, 2013
Handulantaw: Celebrating 50 Years of Culture and the Arts in Silliman
Tao Foundation and Silliman University Cultural Affairs Committee, 2013
Inday Goes About Her Day
Locsin Books, 2012
Beautiful Accidents: Stories
University of the Philippines Press, 2011
Heartbreak & Magic: Stories of Fantasy and Horror
Anvil, 2011
Old Movies and Other Stories
National Commission for Culture
and the Arts, 2006
FutureShock Prose: An Anthology of Young Writers and New Literatures
Sands and Coral, 2003
Nominated for Best Anthology
2004 National Book Awards
In general, popular movies aimed at female audiences are evaluated more harshly than those aimed at male audiences, and when royalty is thrown into the mix, the response tends to be particularly virulent: witness the critical contempt which greeted Oliver Hirschbiegel’s Diana (2013) and Madonna’s W.E. (2010).
Yet this contempt has little to do with strongly held republican values. Tom Hooper’s The King’s Speech (2010) was treated respectfully even by detractors, despite its being the most glibly reactionary entry in the recent royal cycle; the scene in which King George VI (Colin Firth) recalls how his nanny refused to feed him suggests that, seen from the ‘correct’ perspective, the working-class female employee is actually a powerful tyrant, the privileged male aristocrat really just another starving peasant.
The reason The King’s Speech was acclaimed and Grace of Monaco jeered surely has something to do with a lingering intellectual distrust of melodrama. Although a great deal of serious theoretical work has been devoted to this genre, the rhetorical gestures associated with it still tend to disturb middlebrow reviewers (as, indeed, they should), particularly when encountered in a context that is neither sealed in a historical vacuum (classical Hollywood is an object for study, and thus can no longer trouble us), nor heavily marked by signifiers of ironic distance (see, for example, Todd Haynes’s Far from Heaven) motivated by a specious misreading of Sirkian irony, which is incorrectly seen as precluding emotional involvement.
Labels: feminism, film, issues, life