Bliss Cua Lim is Professor of Cinema Studies at the University of Toronto and the author of Translating Time: Cinema, the Fantastic, and Temporal Critique, also published by Duke University Press.

“In this timely and consequential book, Bliss Cua Lim summons a history of Philippine cinema that disrupts settled idioms of archival recuperation, restoration, and reparation. Through a dazzling and detailed analysis of the material, historical, and political precarity of Philippine cinema, Lim centers the afterlives of filmic archives sustained through institutional and community efforts. The Archival Afterlives of Philippine Cinema demands a much-needed cinematic history that conjoins the experiences, histories, and violence of a collective past and present.” - Anjali Arondekar, author of (Abundance: Sexuality's History) “Bliss Cua Lim unveils a searing and unforgettable saga of official neglect, false starts, waste, indifference, arcane politics, and amnesia that have tragically deprived the Philippines of so much of its film heritage. She also reveals the extensive grassroots activism, optimism, and spirit of persistence that will ultimately bring a lasting solution. This story will resonate with audiovisual archivists, memory professionals, and cultural advocates around the world.” - Ray Edmondson, author of (Audiovisual Archiving: Philosophy and Principles)

• Acronyms  ixAcknowledgments  xiIntroduction. Keywords for Philippine Cinema’s Archival Afterlives  11. A Tale of Three Buildings: Marcos Cultural Policy and Anarchival Temporality  512. Silence, Perseverance, and Survival in State-Run Philippine Film Archives  763. Privatization and the ABS-CBN Film Archives  1074. Queer Anachronisms and Temporalities of Restoration: T-Bird at Ako  1335. Informal Archiving in a Riverine System: Video 48 and the Kalampag Tracking Agency  1736. Binisaya: Archival Power and Vernacular Audiences in Iskalawags  214Epilogue. Of Audiences and Archival Publics: Pepot Artista  256Notes  277Bibliography  339Index  375

Bliss Cua Lim is Professor of Cinema Studies at the University of Toronto and the author of Translating Time: Cinema, the Fantastic, and Temporal Critique, also published by Duke University Press.

“In this timely and consequential book, Bliss Cua Lim summons a history of Philippine cinema that disrupts settled idioms of archival recuperation, restoration, and reparation. Through a dazzling and detailed analysis of the material, historical, and political precarity of Philippine cinema, Lim centers the afterlives of filmic archives sustained through institutional and community efforts. The Archival Afterlives of Philippine Cinema demands a much-needed cinematic history that conjoins the experiences, histories, and violence of a collective past and present.” - Anjali Arondekar, author of (Abundance: Sexuality's History) “Bliss Cua Lim unveils a searing and unforgettable saga of official neglect, false starts, waste, indifference, arcane politics, and amnesia that have tragically deprived the Philippines of so much of its film heritage. She also reveals the extensive grassroots activism, optimism, and spirit of persistence that will ultimately bring a lasting solution. This story will resonate with audiovisual archivists, memory professionals, and cultural advocates around the world.” - Ray Edmondson, author of (Audiovisual Archiving: Philosophy and Principles)

• Acronyms  ixAcknowledgments  xiIntroduction. Keywords for Philippine Cinema’s Archival Afterlives  11. A Tale of Three Buildings: Marcos Cultural Policy and Anarchival Temporality  512. Silence, Perseverance, and Survival in State-Run Philippine Film Archives  763. Privatization and the ABS-CBN Film Archives  1074. Queer Anachronisms and Temporalities of Restoration: T-Bird at Ako  1335. Informal Archiving in a Riverine System: Video 48 and the Kalampag Tracking Agency  1736. Binisaya: Archival Power and Vernacular Audiences in Iskalawags  214Epilogue. Of Audiences and Archival Publics: Pepot Artista  256Notes  277Bibliography  339Index  375

Bliss Cua Lim is Professor of Cinema Studies at the University of Toronto and the author of Translating Time: Cinema, the Fantastic, and Temporal Critique, also published by Duke University Press.

“In this timely and consequential book, Bliss Cua Lim summons a history of Philippine cinema that disrupts settled idioms of archival recuperation, restoration, and reparation. Through a dazzling and detailed analysis of the material, historical, and political precarity of Philippine cinema, Lim centers the afterlives of filmic archives sustained through institutional and community efforts. The Archival Afterlives of Philippine Cinema demands a much-needed cinematic history that conjoins the experiences, histories, and violence of a collective past and present.” - Anjali Arondekar, author of (Abundance: Sexuality's History) “Bliss Cua Lim unveils a searing and unforgettable saga of official neglect, false starts, waste, indifference, arcane politics, and amnesia that have tragically deprived the Philippines of so much of its film heritage. She also reveals the extensive grassroots activism, optimism, and spirit of persistence that will ultimately bring a lasting solution. This story will resonate with audiovisual archivists, memory professionals, and cultural advocates around the world.” - Ray Edmondson, author of (Audiovisual Archiving: Philosophy and Principles)

• Acronyms  ixAcknowledgments  xiIntroduction. Keywords for Philippine Cinema’s Archival Afterlives  11. A Tale of Three Buildings: Marcos Cultural Policy and Anarchival Temporality  512. Silence, Perseverance, and Survival in State-Run Philippine Film Archives  763. Privatization and the ABS-CBN Film Archives  1074. Queer Anachronisms and Temporalities of Restoration: T-Bird at Ako  1335. Informal Archiving in a Riverine System: Video 48 and the Kalampag Tracking Agency  1736. Binisaya: Archival Power and Vernacular Audiences in Iskalawags  214Epilogue. Of Audiences and Archival Publics: Pepot Artista  256Notes  277Bibliography  339Index  375