Jrjrjr

Topics: Film, Film theory, Feminist film theory Pages: 4 (1256 words) Published: February 27, 2011
Aguilar, Charmaine C. MC0832
Dolor, Quennie Faye Noreen M. CINEMA 102

TRUE FICTIONS, WOMEN’S NARRATIVES and HISTORICAL DRAMA
Bliss Cua Lim

* A true story is a story to which a particular audience attributes truth. * A fictionalized true story is interesting precisely because it mobalizes generic expectations across this fictional divide. * The truth has been “fictionalized” for dramatic purposes, hat the vharacters in the narrative for example, are not nonactors but film stars. * The first half of 1990 saw deviant Filipino women. Women with AIDS, OCW, and accused murderer and victims of gruesom sex crimes become particularly visible in film genres that claimed to faithfully recount their life stories. * Fatima Buen belongs to a cycle of true stories centered on women’s lives that emerged in popular Philippine Cinema. * The history of censorship battles in the Philippines suggests that both public and the authorities are well aware of political valence of historical reenactments. * It is widely recognized that true to life story can become a means of preffering a political interested account of history as history itself. * The notion of trauma alerts us to the duality of injury: it is both a wound to the body, the moment of the blow, and it’s internalized reception. * Trauma is the state, psycholohical behavior that results from such a hurt. * The violence endured by the individual, once it has been made public, becomes a collective social experience. * The loved ones who survuces the injured person though accorded no legal recognition as victims aslso partakes the “ burdens of victimization.” * A film based on true to life story implkicitly postulates the life story as somehow authentic, whereas the truth, the story of any life is in crucial sense of textual conception constrained by narrative expectations like linearity and causality to produce experience as...
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