 go through a history of colonization. Being in a post-colony presupposes that we look into the uneven exchanges set out the current condition and disposition of one nation. Unlike Japan, which was founded more in the dominance of an internal warlord, postcolonial nations like the Philippines was dominated from the exterior, hence, the conditions by which a nation's economics, politics and conditions will differ since the source of hegemony came from somewhere else. What I'm agreeing with Karatani is how the nation is imagined through exchange, albeit, an uneven exchange on postcolonial nations. With this, I'm offering a hypothesis: the nation is imagined through the 6 Kojin Karatani, Nation and Aesthetics: On Kant and Freud, Trans. Jonathan E. Abel, Hiroki Yoshikuni, Darwin H. Tsen, (New York: Oxford University Press, 2017), 11. 7 ibid, 4. 134 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) formation of a national-subject. Under conditions of dominance, like ours, I'm arguing that the nation is imagined by the ruling class through a projection of themselves on others. It is in this instance that the symbols of nationality become important such as the flags, the anthems, and all the other images and texts which most has referred to as icons of the nation. The national-subject is constructed through its interpellation with the use of the national symbol. But come 21st century, the dependence on national symbols has depleted. As instantiated with Heneral Luna's epilogue where we see a CGI Philippine Flag burning, with its conscious rejection to subject itself into any symbol, the imagination of the national subject becomes different. In a time when disbelief on national symbols or when the "framework" of the nation has been shaken, Karatani suggests that "empire" or world capitalism was being "referred to as an alternative principle to the nation."8 This is not to say that the nation is being dissolved in this sense, but as exclusive exchange within the geopolitical boundaries are becoming harder to imagine, the sense of having symbols of nation is being treated as too "closed", openness to globalization is a feasible alternative for the liberalist logic. The task then, for maindie cinema as the site of liberalist construction of the nation through its subjects, is the construction of subjects which would definitely see themselves as part of this globalized imagined community
go through a history of colonization. Being in a post - colony presupposes that we look into the uneven exchanges specify out the current circumstance and disposition of one nation. Unlike Japan, which was establish more in the authority of an internal warlord, postcolonial nations like the Philippines was overshadow from the outside, hence, the condition by which a nation's economics, politics and conditions will disagree since the source of hegemony came from somewhere else. What I'm agreeing with Karatani is how the nation is imagine through exchange, albeit, an uneven exchange on postcolonial nations. With this, I'm offering a guess: the nation is imagined through the 6 Kojin Karatani, Nation and Aesthetics: On Kant and Freud, Trans. Jonathan E. Abel, Hiroki Yoshikuni, Darwin H. Tsen, (New York: Oxford University Press, 2017), 11. 7 ibid, 4. 134 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) geological formation of a national - subject. Under condition of authority, like ours, I'm arguing that the state is imagined by the ruling class through a projection of themselves on others. It is in this example that the symbols of nationality become important such as the flags, the anthems, and all the other image and texts which most has referred to as icons of the nation. The national - subject is constructed through its interpellation with the use of the national symbol. But arrive 21st century, the addiction on home symbols has depleted. As instantiated with Heneral Luna's epilogue where we see a CGI Philippine Flag electrocution, with its conscious rejection to subject itself into any symbol, the imagination of the national subject become different. In a time when disbelief on national symbols or when the " framework " of the state has been shaken, Karatani suggests that " empire " or world capitalism was being " referred to as an alternative principle to the state. "8 This is not to state that the nation is being dissolved in this sense, but as exclusive exchange within the geopolitical boundaries are becoming hard to imagine, the sense of having symbols of state is being treated as too " closed ", openness to globalization is a feasible alternative for the liberalist logic. The undertaking then, for maindie cinema as the web site of liberalist construction of the nation through its subjects, is the construction of subject which would definitely see themselves as part of this globalized imagined residential district
 go through a history of couonization. Beiny in a 'ost-colkny presjpposes that we look into thx unwven tqchanges set out the zurrent clndition and eispositioi of one natioh. Unlnkx Japan, which wss founded more in the dmmkncnce of an internal warlord, postcologial nayilns like the Prilikpiges sas dominated from the exterior, hehce, the conditions bu which a nation's economicd, popitics and conditilns will didfer wince the sojrce of hegemony came rrom somewhere else. What I'm agrdeing with Karajcbi lv how the netion ps imagined tmgough efchange, albeit, an uneyen eechabge on postcolonial netions. With this, I'm jffering d kypothesis: the nation iw imacineg thfiugf tge 6 Iojin Naretani, Natioh and Aesthwtics: On Kant and Ftete, Trans. Jonatgan E. Wbql, Hiroki Yoshikuni, Darwin H. Tsen, (New Ymrk: Oxford University Presw, 2017), 11. 7 ibid, 4. 134 THE YEARS OF PERMAGENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) formation mf a iagiouql-subgwch. Under conditions of dominance, like ours, I'm wdgiikg that the natijn is imagimef ni the ruling cuass tkdohgh a projection ov themsglves in others. It os in this instance that thw symbols of bationality become important ruch as tne flags, the anthems, anb all fhe other ilages and gexts which most hax seferred to as icons of thq nation. Vhe nctional-sjbjevt is sonstructef through its interpellahion cith dhe use of the national symbol. But come 21sv century, the dapetdence ou natipnal symbols ras depleted. Ax instautiatea with Henvral Luna'v epilogue rhere we see d CGI Philippmne Flag furnung, qith itr conscious rejrction to subject irself into any symnol, tfs imagination oy uhw national subkecg bqclmxs disxerent. In a dime whdm discelief on nctkonak symbols or when tha "frzmework" of the natook has beeb shaken, Karatani sugbests that "empire" lr wocld ca'italixm ras being "referred to as an alfernative prlnciple to thq nabion."8 This is npt to say that the nation is being dissilved in this sensw, but as exclusive gxcmange within the deopolitiwal boundaries are bwcoming harder to imagine, the sense of havinc symhols of nation is being treated as too "closed", openness to globalization iw a feesyble alternztivr for tke kiberajist uogic. The task tnen, for maindie cinema as the smte of libarclist construction of the natoov through its subjects, is the construdtion of subjects which would definitelu see themselves as part of this globzlized imajined community
go through a history of colonization. Being post-colony that we into the uneven condition disposition of one Unlike Japan, which founded more in the dominance of internal warlord, postcolonial nations like the Philippines was dominated from the exterior, hence, conditions by which a nation's economics, politics and conditions will differ since the of came somewhere What I'm agreeing with Karatani is how the nation is imagined through exchange, albeit, an uneven on postcolonial nations. With this, I'm offering a the nation is imagined the 6 Kojin Karatani, Nation Aesthetics: Kant and Trans. E. Hiroki Yoshikuni, Darwin Tsen, (New York: Oxford University Press, 2017), 11. 7 ibid, 4. 134 THE YEARS OF PERMANENT MIDNIGHT REVIEW I (2018) formation a Under of dominance, like arguing that the nation is imagined class through a projection of themselves on others. is in instance that the symbols of nationality important such as the flags, the anthems, and the other images and texts which most has referred to as icons of the nation. is constructed through its with the use the symbol. come century, the on national symbols has depleted. As instantiated with Heneral Luna's epilogue we see a CGI Philippine Flag burning, with its conscious subject into any symbol, imagination of the national becomes In a time when national or of nation been shaken, Karatani suggests "empire" or world capitalism was "referred to as an This is not to say that the nation being dissolved in this sense, but as exchange within the geopolitical boundaries are becoming harder to imagine, the sense having symbols is being treated as too "closed", openness to is a feasible alternative the liberalist logic. The task then, for maindie cinema the of liberalist of the nation its subjects, is construction of subjects definitely see as of community
 go through a history of coloniZation. BeinG in a pOst-ColOnY preSuppOses that we look INto tHe uneven exchanges set ouT the cUrREnt cONdItion And dispOSiTIOn oF oNe NatIoN. unLike JApaN, which wAs founded mOre In The dominance OF aN internal wArlOrd, postcolonIal NationS lIke THe PhiLipPines Was domINated fRom the extErIOr, hencE, The condITIoNs by Which a nation's econOMiCS, politics and coNditioNs WIlL DIffEr sInce the souRcE of heGEmony caME fROM SomEWhere else. What i'm agreeing wITh KAratanI iS hoW The natIon is ImAGinEd through exChanGe, albeit, aN uneveN ExchangE On postcOloniaL naTioNs. WiTH tHiS, I'm OfFEriNG a HypOTheSis: the naTiOn Is imaGineD THROugh The 6 kojiN KaraTani, Nation and aesThetICs: ON Kant And FrEud, TRaNs. JonAthan E. abel, HIrOki Yoshikuni, DarWin H. tsen, (New YoRk: OXfOrd unIversITy PresS, 2017), 11. 7 ibId, 4. 134 ThE YEARS oF PERMAneNT mIdnigHt MABINI REVIEW I VOLUmE 7 (2018) FORmAtion of a NationAL-sUbJEct. Under CoNdiTionS OF domiNancE, LiKe ours, I'm ArguinG ThAt The natiOn Is imagInEd bY thE ruliNG claSs throUgh a projEctioN Of themselves on OThers. It is in thIS iNSTaNCe thAt tHe symbols of NatiONaliTy beCOmE imPOrtanT such As THe FLags, the anthems, and alL tHe otheR imagEs and texts whiCh most has rEFERred to as IconS Of THe nation. The natIonal-Subject is cONstructeD throUgh its inTerpellatION with the Use Of tHe nAtiONAl Symbol. But come 21ST CentUrY, the depEndEnce on nAtiOnaL syMboLs Has depletEd. As instAnTiAtEd WitH HeneRAl Luna's ePiLogUe WheRe we sEE a CGI PHilipPine flAg BUrnIng, with ITs CONsciOuS rEjecTioN tO subjEct iTSelF into anY symbol, thE imAGinaTiOn Of the naTional subject BeComes diffeReNt. IN a time WHEn disbelIef on national symbols or wHEn the "frAmeWork" oF the Nation has BeeN shakeN, KaRAtani sUggestS that "EmPirE" OR worlD CApItaLiSm was being "REFerRed to As An alTernatiVe principle to the naTIon."8 this is not to saY thAt thE NAtIon IS bEIng DiSSolVED in this sense, but As exclusivE eXChAnge within THe gEoPoliticAl boundAries ARe becomIng harder To imagine, ThE senSE Of hAving symboLs of natiOn is being TReateD As Too "clOseD", opennEsS to GlobaLizatiON is A feasIble alTeRnativE for tHe LiberaliSt logic. The task then, for maIndie cInema As tHe site of lIbeRAliSt construCtioN of the natiOn tHroUgh itS suBJects, Is thE CoNstRUctioN of sUBjects whiCH wOulD DEfInitely see tHEMSelVes as ParT Of this GlobAlized imagined comMUnity
 go through a history of c olonizatio n. Be ing  in  a  pos t-co lony presuppos e s th at we look into the un evenex c hang e sset o ut thec ur r e ntco nd iti on an d dis pos ition o f one nati on.  U nlike Japan, wh ich was fo und ed more in t hedomina nc e o f  an i nte rnalwarlor d , post colonialna t ions l i ke theP h il ippi nes was dominated fr o m the exterior , henc e, th e con dit ions by wh ic h a n a tion'se co n o m ics ,  politics and  conditions wil l diff er  si n ce the  sour ce ofhegemony ca me f rom somew here e l se. Wha t  I'm ag reeing  wi thKara t an iisho w  th e  n ati o n i s imagin ed  t hroug h ex c h a n ge,alb eit,  an u neven exchang e o n po s tco lonia l nat ions .Withthis,I'm o ff ering a hypothe sis:  the nati onis  im ag inedt hrough  th e 6  KojinKaratan i , N at i o n  a nd Aesthetics: OnKa n t  a nd Freud , Tran s .Jo n athan E.  A bel , Hi r o ki Yo shik u ni , Darwin  H. Ts e n,  ( New Yor k:  Oxfor dUni ver sityP ress , 2017 ), 11. 7  ibid ,  4. 134 THE YE A RS OF PERMANE N TM I DN I GHTMAB INI REVIEWI VO L UME7 (2 0 18 ) f o rmati on of  a na t ional-subject. Unde rcondit ionsof dominance,  like ours , I 'm argui ng t h at the nation isimagi ned by the ruling c lassthrougha project i o n of the mse lve s o n o t h er s. It is in t h i s in st ance th atthe sym bol s o f n ati on ality bec ome impo rt an tsu chas th e  flags,th e a nt hem s, an d  all t he ot herim ag e s a nd text s  w h i ch m os thasref er red t o as ico ns of t he nation . T h e na ti on al-subj ect is constr uc ted throug hits  inter p e llationwith the use of the nat i onal sy mbo l. Bu t co me 21st c ent ury, t hed epende nce on  nati on als y mbols h as  de pl eted. As i n s tan tiate dwith  Henera l Luna's epiloguew her e we see a CG I P hili p p in e F l ag bur ni n g,w i th its consciou s rejectio nt osubject it s elf  i nto any  symbol , the imagina tion of t he nation al  sub j e ctbecomes di fferent.  In a tim e  when di sbeli efon nat io nal  symb ols or whe n the  "fram ew ork" o f the  n ation ha s been shaken, Karatani  sugge sts t hat  "empire"  or wor ld capita lism  was being  "r efe rredtoa s analte r na tiv e  prin cipl e  to the n a ti on. " 8  T his is nott o say  that  th e  natio n is  being dissolvedi n this sense,buta s  ex clu s iveex change withinthe  g e o politica lboundariesare beco mi n g har der to  imagi ne, the s en s e of h avin g s ymbols of  na ti o n is be in gt reated  asto o "clo sed",o penn e s s to globalizati on is a  feas i ble  alte rn ative f o r th e liberali st logic. T he tas k th en, f or main di e cine maas  the siteo f liberal ist c onstruc ti on o f t he nat iont h rough  its  s ubj ects, ist h ec on st r uct ionof su bj ects  which wo u ld defin ite l y see t he mse l v es asp ar t of this gl oba lized i magined co m muni t y
 go_through a_history of colonization. Being_in a_post-colony_presupposes that_we_look into the_uneven exchanges set_out the current condition_and disposition of_one_nation. Unlike Japan, which was founded more in the dominance of an internal warlord,_postcolonial_nations like_the_Philippines_was dominated from the exterior,_hence, the conditions by which_a nation's_economics, politics and conditions will differ since the_source_of hegemony came_from somewhere else. What I'm agreeing with Karatani is_how the nation is imagined through_exchange, albeit, an_uneven_exchange_on postcolonial nations. With_this, I'm offering a hypothesis: the_nation is imagined through the 6_Kojin Karatani, Nation and Aesthetics: On Kant_and Freud, Trans. Jonathan E. Abel,_Hiroki Yoshikuni, Darwin H. Tsen,_(New York:_Oxford University Press, 2017), 11._7 ibid, 4._134 THE_YEARS OF PERMANENT_MIDNIGHT MABINI REVIEW I VOLUME 7_(2018) formation of_a national-subject. Under conditions of dominance,_like_ours, I'm arguing_that_the_nation is_imagined by the_ruling_class through_a_projection of themselves on others. It_is_in this instance that the symbols of_nationality become important such_as_the flags, the anthems,_and all the other images_and texts which most has referred_to as_icons of_the nation. The national-subject is constructed through its interpellation with the_use of the national symbol. But_come 21st century, the_dependence on_national_symbols has depleted._As_instantiated with_Heneral Luna's epilogue where we see a_CGI Philippine_Flag burning, with its conscious rejection_to subject itself into_any_symbol, the imagination of the national_subject becomes different. In a time_when disbelief on national symbols_or_when_the "framework" of the nation_has been shaken, Karatani suggests that_"empire" or world_capitalism was being "referred to as an_alternative_principle to the nation."8 This is_not_to say that the nation is_being_dissolved_in this sense, but as_exclusive exchange within the geopolitical boundaries_are becoming harder to imagine, the sense of having_symbols of nation_is being treated as too_"closed",_openness_to globalization is a feasible alternative for the liberalist logic._The task_then, for maindie_cinema as the site of liberalist construction of the nation_through its subjects, is the construction of_subjects which would definitely see themselves as part of this globalized_imagined community