IF 0.3 Q3 AREA STUDIES
Geronimo Cristobal, T. Espiritu
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引用次数: 0

摘要

摘要:本文将兰贝托·阿维利亚纳的《阿纳克·达利塔》(LVN Pictures, 1956)作为一部犯罪情节剧进行研究,将马尼拉历史悠久的城墙城Intramuros置于黑色电影的城市地理中。它探讨了这部电影对Intramuros从一个拥有大教堂和豪宅的殖民城市到战后与擅自占用者和城市贫困相关的废墟的转变的表现。本文将《Anak Dalita》置于第二次世界大战后二十年马尼拉城市空间重构的背景下,将这部电影关于残疾退伍军人在Intramuros中寻求重获自我价值的叙事解读为战后城市重建的寓言。looban(意思是内部空间、内部和意志的集合)是作为一种概念工具来批评Anak Dalita对Intramuros寮屋问题的解决方案。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Intramuros of Anak Dalita, the Looban of Manila Noir
Abstract:This article examines Lamberto Avellana's Anak Dalita (LVN Pictures, 1956) as a crime melodrama that places Intramuros, Manila's historic walled city, within the cinematic urban geography of film noir. It probes the film's representation of the transformation of Intramuros from a colonial city of cathedrals and mansions to a post-war ruin associated with squatters and urban poverty. Situating Anak Dalita within the context of the reconfiguration of Manila's urban space in the two decades that followed the Second World War, this essay interprets the film's narrative about a disabled veteran's quest to regain his self-worth in Intramuros as an allegory of post-war urban rehabilitation. The looban (meaning interior space, interiority and a gathering of wills) is proposed as a conceptual tool to critique Anak Dalita's solutions to the squatter problem in Intramuros.
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CiteScore
1.20
自引率
11.10%
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0
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