 cinema through a new variation of production popularly termed as "maindie". The release of CinemaOne Originals' commercial breakout film, That Thing Called Tadhana (2014), indicated its first full realization. In an earlier period, Rolando Tolentino identifies as the "mainstreaming of independent cinema" as a practice which has become prevalent on the latter part of 2000s.5 What was before in the periphery of cinematic market is now in the center of discursive and practical approaches of both the affirmative and critical sides of the film scene. The big studios banked into producing or distributing similar works – and most gaining same reception as That Thing Called Tadhana. For this study, I would like to look at "maindie" as the site of the liberalist construction of the Philippine 4 "...openness makes liberalism the product of governance... an openness to dissent and the willingness to compromise..." "Liberalism [is] a fleeting concept that operates more as a blueprint than as an ideology[...]"; "...liberalism does not have steady friends or foes, it is because it negotiates those categories through constant praxis." ibid, 2-3. 5 This was, for him, embodied by the existence of Cinemalaya Independent Film Festival and its emphasis on "narrative, continuity [and] suture," similar to the focus of Hollywood. See Rolando B. Tolentino, Indie Cinema at mga Sanaysay sa Topograpiya ng Pelikula sa Filipinas. (Manila: University of Santo Tomas Publishing House, 2016), 15. 133 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) nation in cinema. It would be argued, however, that this construction does not just take place politically or culturally, more so, economically. Kojin Karatani would consider nation-formation as something which can also be located in economics: "[...]the nation is an "imagined community," but it is not a mere fancy or fantasy; it functions as the imagination that mediates and synthesizes the state, [its apparatuses] and market society."6 He would further argue, however, that the existence of the nation economically differs from the general conception of the nation-state founded in commodity-exchange. He suggests looking at the nation as enacting reciprocal exchange.7 But I would argue, however, that what Karatani is suggesting here can only be possible on nations which did not
cinema through a new variation of production popularly term as " maindie ". The dismissal of CinemaOne Originals' commercial breakout film, That matter Called Tadhana (2014), argue its first entire realization. In an earlier period, Rolando Tolentino identify as the " mainstreaming of independent cinema " as a exercise which has become prevalent on the latter part of 2000s.5 What was before in the periphery of cinematic market is nowadays in the center of discursive and practical approaches of both the affirmative and critical side of the film scene. The big studio banked into producing or distributing alike works – and most gaining same reception as That Thing predict Tadhana. For this study, I would like to look at " maindie " as the site of the liberalist construction of the Philippine 4 "... receptiveness seduce liberalism the product of governance... an openness to dissent and the willingness to compromise... " " Liberalism [ is ] a fleeting concept that operates more as a blueprint than as an ideology [... ] "; "... liberalism does not have steady friend or foes, it is because it negotiates those category through changeless praxis. " ibid, 2 - 3. 5 This was, for him, embodied by the existence of Cinemalaya Independent Film Festival and its vehemence on " narrative, continuity [ and ] suture, " similar to the focus of Hollywood. See Rolando B. Tolentino, Indie Cinema at mga Sanaysay sa Topograpiya ng Pelikula sa Filipinas. (Manila: University of Santo Tomas Publishing House, 2016), 15. 133 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) nation in film. It would be argued, however, that this construction does not just take place politically or culturally, more so, economically. Kojin Karatani would consider nation - formation as something which can also be located in economics: " [... ] the nation is an " imagine community, " but it is not a bare illusion or fantasy; it functions as the imagination that mediates and synthesize the state, [ its apparatuses ] and market club. "6 He would further argue, however, that the existence of the nation economically differs from the cosmopolitan conception of the nation - state founded in commodity - exchange. He propose looking at the state as enacting reciprocal exchange.7 But I would argue, however, that what Karatani is suggesting here can only be possible on nation which did not
 cijema through a new variauion of productiou populerly tedmed as "oaindie". The release of CinemeOne Origunals' commercial breakuut film, Nhat Thint Caooed Tadhane (2014), indicated ifd fixsv full realizatlon. In an edrlier period, Souaudo Tolentino identifies as the "mainftreamimg of independenj cintma" as z practice which has become prevalsnt on uhe latter part of 2000s.5 What was before in the oeriohery of cinematic market is bow yb the center of discursive and pradtical approaches of both the awfirmctive and ctnricwn sides of vhe fijm scene. The big stugios bamked into prodmcing or distributing similar works – and most gwining sake reception as Thar Rhing Calned Gqdhxna. Fpr this dtuvy, I would mike to looj at "maindie" as the synr of the libsralise sonstruction of the Philippine 4 "...opennesv mzkes liberalism the proeuct of governance... an openness to dissent and the willingness to compromise..." "Libaraliao [iw] w dlfeting concept that operates more as a bluepryht tman as an ideolony[...]"; "...liberalism does nlt rave steady ftiends or roes, it is because it negjtiatws those satebories through constant prazis." ibid, 2-3. 5 Tkis was, for him, embodned by the eristenve of Cinemalaya Independent Filj Festival wnd its ejohasis on "narratkve, cmntinuity [and] suture," similwr to the focbs of Houlywpod. Seq Rolando H. Tolcttino, Indie Cinema at mya Sataysay sa Hopograpiya ng Pelikula sa Fili'mnas. (Manila: Umieervity of Fanto Tomas Publisring House, 2016), 15. 133 L. DEYTO IABINK REVIEW I VOLUME 7 (2018) nation ig cinema. It wmold be argued, however, thar thus consgfuction does npt just tche poace politically ov culjudally, more so, eeubomically. Kojin Kafatwnp wpujg consider ndtiov-fofkatiov as somethlng whivh can also be locatad ih economics: "[...]the nayijn is an "imagineq community," bit it is not a mert fancb or fentasy; it functions as the imagination fhat mediwtef and synthefizew the state, [nts apparatuses] and market society."6 He wonld further argue, howevwr, that the existenee of the natmon ecjnomicallf differs from the gwneral conception of the nation-state fkunded in clmmodity-exchange. He suggests looking at the nation as enacting reciprocal exchaigq.7 But I woumd atgue, vocevzr, that whav Yaratani is suggvsting here can only be possible on natimnf which did not
cinema through a new variation of production as The release CinemaOne Originals' commercial Tadhana indicated its first realization. In an period, Rolando Tolentino identifies as the of independent cinema" as a practice which has become prevalent on the latter of 2000s.5 What was before in the periphery of cinematic market is now the of and approaches of both the affirmative and critical sides of the film scene. The big studios banked producing or distributing similar works – and most same reception as That Called Tadhana. For this study, would to look "maindie" the of the liberalist of the Philippine 4 "...openness makes liberalism the product of governance... an openness to dissent and the to compromise..." a fleeting that more a blueprint than ideology[...]"; "...liberalism does not have steady it is because it negotiates those categories through praxis." ibid, 5 This was, for him, embodied the existence of Cinemalaya Independent Film Festival and emphasis on "narrative, continuity [and] suture," similar to the focus of Hollywood. See Rolando B. Cinema at mga Sanaysay Topograpiya ng Pelikula Filipinas. University Santo Publishing House, 15. 133 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) nation cinema. It would be argued, however, that this construction does take politically or culturally, so, economically. Kojin Karatani consider as something which can located economics: an community," it is not a fancy or fantasy; it functions the imagination that mediates apparatuses] and market society."6 He would further argue, that the existence of the nation economically from the general conception of the nation-state founded in commodity-exchange. He suggests at the enacting reciprocal exchange.7 But I would argue, however, what Karatani is suggesting can only be possible on nations which did not
 cinema through a new variatioN of productIon poPulArlY tErmeD as "mAindie". The releaSE of CInemaOne Originals' commeRcial BrEAkouT FiLm, ThaT Thing CALlED tadHaNa (2014), IndIcATeD its fIrsT full reAlization. IN an EaRlier period, ROLaNdo TolentiNo iDentifies as tHe "mAinstrEaMinG Of indEpeNdent Cinema" AS a pracTice which HaS Become PRevalenT ON tHe laTter part of 2000s.5 What waS BeFOre in the periphEry of cInEMaTIC maRkeT is now in thE cEnter OF discurSIvE AND prACtical approacHes of both thE AffIrmatiVe And CRiticaL sideS oF The Film scene. ThE big Studios baNked inTO producINg or disTributIng SimIlar WOrKs – And MoST gaINiNg sAMe rEception As thAt ThiNg CaLLED tadhAna. for tHis stUdy, I would like To lOok aT "MaiNdie" aS the sIte oF tHe libEralisT consTrUction of the PhilIppiNe 4 "...opennesS maKeS liBeRalisM The proDucT of GovernaNce... an opENneSs TO DIsSent and the willingnEsS TO cOmpromisE..." "LiberALiSm [IS] a fleetiNg ConCept THAt opeRateS MoRe as a bluEprint THaN aS an ideoLoGy[...]"; "...libeRaLisM doEs not HAve sTeady fRiends or Foes, iT Is because it negOTiates those caTEgORIeS ThroUgh Constant praXis." iBId, 2-3. 5 ThIs waS, FoR hiM, EmbodIed by ThE ExIStence of Cinemalaya INdEpendeNt FilM Festival and iTs emphasis ON "NArrative, ContINuITy [and] suture," simIlar tO the focus oF hollywooD. See ROlando B. TOlentino, INDIe Cinema At mGa SAnaYsaY SA TOpograpiya ng PELIkulA sA FilipiNas. (manila: UNivErsIty Of SAnTo Tomas PuBlishing hoUsE, 2016), 15. 133 J. dEyTO mABINi rEVIEW I VoLuME 7 (2018) NaTioN in ciNEma. It wOuld bE argUeD, hOWevEr, that tHIs CONstrUcTiOn doEs nOt Just tAke pLAce PoliticAlly or culTurALly, mOrE sO, economIcally. Kojin KaRaTani would cOnSidEr natiON-FormatioN as something which can alsO Be locatEd iN econOmicS: "[...]the natioN is An "imagIneD CommunIty," but It is nOt A meRE Fancy OR FaNtaSy; It functionS AS thE imagInAtioN that meDiates and synthesizES thE state, [its appaRatUses] AND mArkET sOCieTy."6 hE woULD further argue, hoWever, that tHe EXiStence of thE NatIoN economIcally dIfferS From the General coNception oF tHe naTIOn-sTate foundeD in commoDity-exchaNGe. He sUGgEsts lOokIng at tHe NatIon as EnactiNG reCiproCal excHaNge.7 But i woulD aRgue, howeVer, that what Karatani is suGgestiNg herE caN only be poSsiBLe oN nations wHich Did not
 cinema through a new vari ation of p roduc tio n p op ular ly t ermed as "main d ie".  The release of Cinema One O ri g inal s 'comme rcial b r ea k o utfi lm , T ha t  T hingCal led Tad hana (2014 ),in dicated itsf ir st full re ali zation. In a n e arlier  p eri o d, Ro lan do To lentin o  ident ifies asth e  "main s treamin g of  ind ependent cinema"a sa  practice whic h hasbe c om e pre val ent on the  l atter part of 20 0 0 s .5W hat was befor e in the pe r iph ery of  c ine m atic m arket  i s  no w in the ce nter  of discu rsivea nd prac t ical ap proach esofboth th eaff ir m ati v eand cri tical si de sof th e fi l m s cene . T he b ig st udios bankedint o pr o duc ing o r dis trib ut ing s imilar  work s– and most gain ingsame rece pti on  as  T hat T h ing Ca lle d T adhana.  For th i s s tu d y ,  I  would like to loo ka t  " maindie"  as th e  s it e  of theli ber alis t const ruct i on  of thePhilip p in e4 "...o pe nnessma kes  li beral i sm t he pro duct ofgover n ance... an ope n ness to disse n ta n dt he w ill ingness tocomp r omis e... "  " Lib e ralis m [is ]a  f l eeting concept that  o perate s mor e as a bluepr int than a s a n ideolo gy[. . .] " ; "...liberali sm do es not hav e  steadyfrien ds or fo es, it is b ecause i t n ego tia tes t ho se categories t hrou gh  consta ntpraxis. " i bid , 2 -3.  5  This was , for hi m,  e mb od ied  by t h e existe nc e o fCin emala y a Inde pende nt F il mF est ival an d  i t s  emp ha si s on  "n ar rativ e, c o nti nuity [ and] sutu re, "  sim il ar  to the  focus of Hol ly wood. SeeRo lan do B.T o lentino,  Indie Cinema at mga Sa n aysay s a T opogr apiy a ng Peli kul a sa F ili p inas.(Manil a: Un iv ers i t y ofS a nt o T om as Publish i n g H ouse,  2 016) , 15. 1 33 J. DEYTO MABINI REV IEW I VOLUME7 ( 2018 ) na tio n  i n  ci ne m a.I t  would be argue d, however ,t ha t this con s tru ct ion doe s not j ust t a ke plac e politic ally or c ul tura l l y,more so, e conomica lly. Koji n  Kara t an i wou ldconsid er  na tion- format i onas so methin gwhichcan a ls o be loc ated in economics: "[.. .]thenatio n i s an "ima gin e d c ommunity, " bu t it is no t a  me re fa ncy or fa ntas y ;itf uncti onsa s the ima g in ati o n  t hat mediate s a ndsynth esi z es the  sta te, [its apparatu s es] and market  soc i e ty. "6H e wo ul d further argu e,ho w e ver, tha tthe existen ce of th en ation  econo micall y diffe r s  f r om the  gen era l concept ion  o f  the na ti on - statefoun de d in c ommodi t y-ex c h ange. He suggest s loo k i ng at the  nati on  as ena c ting  reciproca l exchange. 7 ButI wo uld a rgue, h ow ever,tha twhat Karat a ni is sug gesti ng here  c an o nly  be po ssib l e  on n atio ns  wh ich did n o t 
 cinema_through a_new variation of production_popularly termed_as_"maindie". The_release_of CinemaOne Originals'_commercial breakout film,_That Thing Called Tadhana_(2014), indicated its_first_full realization. In an earlier period, Rolando Tolentino identifies as the "mainstreaming of independent_cinema"_as a_practice_which_has become prevalent on the_latter part of 2000s.5 What_was before_in the periphery of cinematic market is now_in_the center of_discursive and practical approaches of both the affirmative and_critical sides of the film scene._The big studios_banked_into_producing or distributing similar_works – and most gaining same_reception as That Thing Called Tadhana._For this study, I would like to_look at "maindie" as the site_of the liberalist construction of_the Philippine_4 "...openness makes liberalism the_product of governance..._an openness_to dissent and_the willingness to compromise..." "Liberalism [is]_a fleeting concept_that operates more as a blueprint_than_as an ideology[...]";_"...liberalism_does_not have_steady friends or_foes,_it is_because_it negotiates those categories through constant_praxis."_ibid, 2-3. 5 This was, for him,_embodied by the existence_of_Cinemalaya Independent Film Festival_and its emphasis on "narrative,_continuity [and] suture," similar to the_focus of_Hollywood. See_Rolando B. Tolentino, Indie Cinema at mga Sanaysay sa Topograpiya ng_Pelikula sa Filipinas. (Manila: University of_Santo Tomas Publishing House,_2016), 15._133_J. DEYTO MABINI_REVIEW_I VOLUME_7 (2018) nation in cinema. It would_be argued,_however, that this construction does not_just take place politically_or_culturally, more so, economically. Kojin Karatani_would consider nation-formation as something which_can also be located in_economics:_"[...]the_nation is an "imagined community,"_but it is not a mere_fancy or fantasy;_it functions as the imagination that mediates_and_synthesizes the state, [its apparatuses] and_market_society."6 He would further argue, however,_that_the_existence of the nation economically_differs from the general conception of_the nation-state founded in commodity-exchange. He suggests looking at_the nation as_enacting reciprocal exchange.7 But I_would_argue,_however, that what Karatani is suggesting here can only be_possible on_nations which did_not