 Theology': an interview with Lav Diaz" in Tilman Baumgärtel (ed.), Southeast Asian Independent Cinema. (Hong Kong: Hong Kong University Press, 2012), 177. 43 Khavn dela Cruz, "Four Manifestos" in Tilman Baumgärtel (ed.), Southeast Asian Independent Cinema. (Hong Kong: Hong Kong University Press, 2012), 122. 44 "Roughly ten years ago, give or take, independent cinema was punk rock (or hip-hop) for filmmakers, with the same energy, the same sense of adventurism, the same love for new forms, the same fervor for cross-pollination, the same carte blanche, the same economic freedom, the same disregard for gatekeepers, who were eventually cast out as their counter parts around the world." Eduardo Dayao, "Sleeping with the Enemy." Kino Punch, (2015), 40. 158 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) contend, in his commentaries of the films Ang Babae sa Septic Tank (2011) and Ang mga Kidnapper ni Ronnie Lazaro (2012), that the indies are already aware that they are no longer in the age to assume any innocence of the practices (and excesses) that they appropriated from the mainstream, which is why a significant part of its earlier history were not dedicated to critique.45 But, since the limit of discourse of the then independent movement is technological-determinist in essence, it fails to sustain a running critique and resistance to the dominating practice of the ruling institutions. The arguments of digital liberation are left open to negotiation since it is mainly grounded on the celebration of technology. By 2012, all SM cinemas in the country have become fully digitized,46 which signaled a change, too, for mainstream studios to shift into digital filmmaking. From filmmaking in the periphery for friends and selected venues, practices of big studios trickled down for the independent scene to follow. As the great structures of power of the studio system managed to coopt the once-independent digital movement, it too has become the vessel of dominantstate agenda and ideology. It isn't an accident that 45 Tolentino, Indie Cinema, 5, Tolentino will also further stress that the major contributing factor for the mainstream appropriation of the digital medium is Cinemalaya's emphasis for
Theology': an interview with Lav Diaz " in Tilman Baumgärtel (ed .), Southeast Asian Independent Cinema. (Hong Kong: Hong Kong University Press, 2012), 177. 43 Khavn dela Cruz, " Four Manifestos " in Tilman Baumgärtel (ed .), Southeast Asian Independent Cinema. (Hong Kong: Hong Kong University Press, 2012), 122. 44 " Roughly ten years ago, render or consume, independent cinema was punk rock'n' roll (or hip - hop) for filmmakers, with the like energy, the same sense of adventurism, the like beloved for new phase, the same fervor for hybrid - pollination, the like carte blanche, the same economic exemption, the same disregard for gatekeeper, who were finally cast out as their counter parts around the earth. " Eduardo Dayao, " Sleeping with the Enemy. " Kino Punch, (2015), 40. 158 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) argue, in his commentaries of the movie Ang Babae sa Septic Tank (2011) and Ang mga Kidnapper ni Ronnie Lazaro (2012), that the indies are already aware that they are no longer in the age to assume any innocence of the exercise (and excesses) that they appropriated from the mainstream, which is why a significant part of its earlier history were not dedicated to critique.45 But, since the terminus ad quem of sermon of the then independent movement is technological - determinist in essence, it fails to sustain a running critique and electric resistance to the dominating practice of the rule institutions. The arguments of digital liberation are left clear to negotiation since it is mainly grounded on the celebration of technology. By 2012, all SM cinemas in the area have become fully digitized,46 which signaled a change, too, for mainstream studios to shift into digital filmmaking. From filmmaking in the periphery for acquaintance and selected venues, practices of big studios trickled down for the autonomous view to follow. As the great structures of power of the studio system managed to coopt the once - autonomous digital movement, it besides has become the vessel of dominantstate agenda and ideology. It isn't an accident that 45 Tolentino, Indie Cinema, 5, Tolentino will also far stress that the major contributing divisor for the mainstream appropriation of the digital medium is Cinemalaya's vehemence for
 Thfology': an interview with Lav Diaz" in Tilman Banmgärtel (ed.), Soutfeast Asian Independent Cinela. (Hong Kong: Hong Kong Univerrity Presd, 2012), 177. 43 Khacn dtla Cruz, "Four Manmrestos" lu Tiljwn Bcungärtel (ed.), Soutmeast Asian Independent Chndmc. (Hong Kong: Hong Kong University Prefs, 2012), 122. 44 "Rpuhhly ten years ago, dive or take, independent cinema was puhk rock (or hip-hop) fot filmmakers, with the same eneggy, the same sense of adventutjsm, rhe same lovd for new forms, the saje fervor for cross-pollination, ghe scme carte boabchf, the same eronomib freedom, the same divregard for gatekeepevs, whm wwre eventually cast ont as their counter karts aroutd the world." Eduardi Eayao, "Sleapine wigh uhe Ehemy." Klno Punch, (2015), 40. 158 FHE YEARS OD PERMANENT MIDNIGHU MWVINI REVIEW I VOLUMQ 7 (2018) contend, in his commentaries of the finms Ang Babae sa Septic Tabk (2011) and Ang mga Kidnakper ni Rognie Lazaro (2012), that the indies are already aware thdt thxy art kj oojger in the age to assume any innocence of thq ptabtices (and excesscs) that they approlrlaygd from the maknstrecj, shich is why a sigjificanj part of its ewrlirr history were not dedicatwd to critiqle.45 Byt, since the limit of discourre og the then independent movemznt is technologifal-determjvist in essence, kt nains to sustain a running crytique anv resnstance go tne domynating prwcticc of the ruling inshitutnons. Dhe argumejts of digital liberation are lxht open to nebodianion sincz it ix mainly grougded on the cekebratijn of technologj. By 2012, all SM cinemas in the countsi have become fully dygituzed,46 which rkgnaled a chanbe, too, fog iainwtream studios to xhiwf into digital ynlnmaking. From fikmmxkigg ii the [eriphery fos frkenax and selecttb vcnuds, ptactices of big studhos frickled down for yhc indepeneent scege to follow. Ss the great strucuures mf 'ower pf jhe studio system managed to cokpt the ojce-lndependent dygitql movement, nt too has become the vessel of dominantwtate agenda and ieeology. It isn't an ccgident that 45 Tolegtino, Indhe Cinema, 5, Tolentino will also furthev stress that the majod contsibutlng factor for the mainstream appropriation of the digital medium is Cinenalaya's emphasis fkr
Theology': an interview with Lav Diaz" in (ed.), Asian Independent (Hong Kong: Hong 43 dela Cruz, "Four in Tilman Baumgärtel Southeast Asian Independent Cinema. (Hong Kong: Kong University Press, 2012), 122. 44 "Roughly ten years ago, give or take, cinema was punk rock (or hip-hop) for filmmakers, with the same energy, the sense adventurism, same for new forms, the same fervor for cross-pollination, the same carte blanche, the same economic freedom, same disregard for gatekeepers, who were eventually cast as their counter parts the world." Eduardo Dayao, "Sleeping the Kino Punch, 40. THE OF PERMANENT MIDNIGHT REVIEW I VOLUME 7 (2018) contend, in his commentaries of the films Ang Babae sa Septic Tank and Ang ni Ronnie (2012), the are already aware are no longer in the age innocence of the practices (and excesses) that they from the which is why a significant part its earlier history were not dedicated to critique.45 since the limit of discourse of the then independent movement is technological-determinist in essence, it sustain a running critique resistance to the practice the institutions. arguments of liberation are left open to negotiation since it is mainly grounded the celebration of technology. By 2012, all SM cinemas in have fully digitized,46 which a change, too, for studios shift into digital filmmaking. in periphery selected practices big studios trickled down the independent scene to follow. the great structures of managed to coopt the once-independent digital movement, it has become the vessel of dominantstate agenda ideology. It isn't an accident that 45 Tolentino, Indie Cinema, 5, Tolentino also further the major contributing factor for the mainstream appropriation the digital medium is emphasis for
 Theology': an interview with LaV Diaz" in TilMan BaUmgÄrtEl (Ed.), SoUtheAst Asian IndepeNDent cinema. (Hong Kong: Hong Kong univeRsITy PrESs, 2012), 177. 43 khavn Dela CruZ, "foUR manIfEsTos" In tIlMan BaUmgÄrtel (ed.), southeast ASiaN INdependent CiNEmA. (Hong Kong: HOng kong UniversiTy PRess, 2012), 122. 44 "RoUgHly TEn yeaRs aGo, givE or takE, IndepeNdent cineMa WAs punk ROck (or hiP-HOp) For fIlmmakers, with the sAMe ENergy, the same seNse of aDvENtURIsm, The Same love foR nEw forMS, the samE FeRVOR foR Cross-pollinatIon, the same cARte BlanchE, tHe sAMe econOmic fReEDom, The same disrEgarD for gatekEepers, WHo were eVEntuallY cast oUt aS thEir cOUnTeR paRtS AroUNd The WOrlD." Eduardo daYaO, "SleePing WITH The ENemY." KinO PuncH, (2015), 40. 158 THE YEARS OF PErMAnENT miDNiGHT MaBINI rEVIeW i VOLUmE 7 (2018) contEnd, in HiS commentaries of The fIlms Ang BaBae Sa sepTiC Tank (2011) ANd Ang mGa KIdnApper ni ronnie LAZarO (2012), tHAT ThE indies are already aWaRE ThAt they arE no lonGEr In THe age to aSsUme Any iNNOcencE of tHE pRactices (And excESsEs) That theY aPproprIaTed FroM the mAInstReam, whIch is why A signIFicant part of itS Earlier historY WeRE NoT DediCatEd to critiquE.45 But, SInce The lIMiT of DIscouRse of ThE ThEN independent movemenT iS technOlogiCal-determinisT in essence, IT FAils to suStaiN A rUNning critique aNd resIstance to tHE dominatIng prActice of The ruling INStitutioNs. THe aRguMenTS Of Digital liberaTIOn arE lEft open To nEgotiatIon SinCe iT is MaInly grounDed on the CeLeBrAtIon Of tecHNology. By 2012, AlL SM CiNemAs in tHE countRy havE becOmE fULly DigitizED,46 wHICh siGnAlEd a cHanGe, Too, foR maiNStrEam studIos to shifT inTO digItAl FilmmakIng. From filmmaKiNg in the perIpHerY for frIENds and seLected venues, practices of BIg studiOs tRicklEd doWn for the iNdePendenT scENe to foLlow. As The grEaT stRUCtureS OF pOweR oF the studio SYSteM manaGeD to cOopt the Once-independent digITal Movement, it too Has BecoME ThE veSSeL Of dOmINanTSTate agenda and idEology. It isN't AN aCcident thaT 45 tolEnTino, IndIe CinemA, 5, ToleNTino wilL also furtHer stress ThAt thE MAjoR contributIng factoR for the maINstreAM aPpropRiaTion of ThE diGital Medium IS CiNemalAya's emPhAsis foR
 Theology': an interview w ith Lav Di az" i n T ilm an  Bau mgär tel (ed.), Sou t heas t Asian Independent Ci nema.  ( H ongK on g: Ho ng Kong Un i v ers it yPre ss ,  2 012),  17 7. 43 K havn delaCru z,  "Four Manif e st os" in Til man  Baumgärtel(ed .), So ut hea s t Asi anIndep endent Cinema . (Hong K on g : Hong Kong Un i v er sity  Press, 2012), 12 2 .4 4 "Roughly ten  years  a g o, g ive  or  take, ind ep enden t  cinema wa s p unk rock (or hip- hop) for fi l mma kers,wi tht he sam e ene rg y , t he same sen se o f adventu rism,t he same love fo r newfor ms,  the sa me  fe rv o r f o rcro s s-p ollinati on ,the s amec a r t e bl anc he,the s ame economicfre edom ,  th e sam e dis rega rd  forgateke epers ,who were eventu ally  cast out  as  t hei rcount e r part s a rou nd theworld." Edu ar d o Da yao, "Sleeping wit ht h eEnemy."Kino P u nc h, (2015),40 . 1 58 T H E  YEAR S OF PE RMANENTMIDNIG H TMA BINI RE VI EW I V OL UME  7(2018 )  con tend,in his c ommen t aries of the f i lms Ang Babae sa S ep t ic T ank  (2011) and  Ang mgaKidn a pp ern i Ron nie L az a ro (2012), that the in di es are  alre ady aware tha t they are n o  longerin t h ea ge to assume a ny in nocence of the prac tices  (and ex cesses) t h a t they a ppr opr iat edf r om  the mainstre a m , wh ic h is wh y a  signif ica ntpar t o fits earli er histo ry  w er enot  dedi c ated tocr iti qu e.4 5 But ,  since  thelimi tof dis courseo ft h e th en  i ndep end en t mov emen t  is  techno logical-d ete r mini st  i n essen ce, it failsto  sustain a  r unn ing cr i t ique and  resistance to the domi n ating p rac ticeof t he ruling  in stitut ion s . Theargume nts o fdig i t al li b e ra tio nare left o p e n t o neg ot iati on sinc e it is mainly gro u nde d on the cele bra tion o ftec h no l ogy .B y 2 0 1 2, all SM cinem as in theco u nt ry have be c ome  f ully di gitized ,46 w h ich sig naled a c hange, to o,  for m ain stream stu dios toshift int o  digi t al  film mak ing. F ro m f ilmma king i n  th e per iphery  f or fri endsan d select ed venues, practices of  big s tudio s t rickled d own for  the inde pend ent scenetofol low.Ast he gr eats tr uct u res o f po w er of the st udi o sy stem manage d t o c ooptthe once-i ndep endent digital mo v ement, it toohasb e com e t h e ve ss el of dominant sta te a genda an dideology. I t isn'tan accid ent th at 45Tolenti n o ,I ndie C inem a,5, Tolent ino  w i ll also  f ur t her st ress  t hat th e majo r  con t r ibuting factor f or th e mains t rea m app ro priatio n  ofthe digita l medium is  Cinem alay a's e mphasis  f or
 Theology':_an interview_with Lav Diaz" in_Tilman Baumgärtel_(ed.),_Southeast Asian_Independent_Cinema. (Hong Kong:_Hong Kong University_Press, 2012), 177. 43_Khavn dela Cruz,_"Four_Manifestos" in Tilman Baumgärtel (ed.), Southeast Asian Independent Cinema. (Hong Kong: Hong Kong University_Press,_2012), 122._44_"Roughly_ten years ago, give or_take, independent cinema was punk_rock (or_hip-hop) for filmmakers, with the same energy, the_same_sense of adventurism,_the same love for new forms, the same fervor_for cross-pollination, the same carte blanche,_the same economic_freedom,_the_same disregard for gatekeepers,_who were eventually cast out as_their counter parts around the world."_Eduardo Dayao, "Sleeping with the Enemy." Kino_Punch, (2015), 40. 158 THE YEARS_OF PERMANENT MIDNIGHT MABINI REVIEW_I VOLUME_7 (2018) contend, in his_commentaries of the_films Ang_Babae sa Septic_Tank (2011) and Ang mga Kidnapper_ni Ronnie Lazaro_(2012), that the indies are already_aware_that they are_no_longer_in the_age to assume_any_innocence of_the_practices (and excesses) that they appropriated_from_the mainstream, which is why a significant_part of its earlier_history_were not dedicated to_critique.45 But, since the limit_of discourse of the then independent_movement is_technological-determinist in_essence, it fails to sustain a running critique and resistance to_the dominating practice of the ruling_institutions. The arguments of_digital liberation_are_left open to_negotiation_since it_is mainly grounded on the celebration of_technology. By_2012, all SM cinemas in the_country have become fully_digitized,46_which signaled a change, too, for_mainstream studios to shift into digital_filmmaking. From filmmaking in the_periphery_for_friends and selected venues, practices_of big studios trickled down for_the independent scene_to follow. As the great structures of_power_of the studio system managed to_coopt_the once-independent digital movement, it too_has_become_the vessel of dominantstate agenda_and ideology. It isn't an accident_that 45 Tolentino, Indie Cinema, 5, Tolentino will also_further stress that_the major contributing factor for_the_mainstream_appropriation of the digital medium is Cinemalaya's emphasis for