 so-called Philippine New Wave. While independent film production has always been historically a practice in Philippine cinema, commentators, as Tolentino would suggest, traces the roots of the "movement" at the beginning of Cinemalaya Independent Film Festival in 2005.41 What sets this movement against older independent film practices is their use of the digital technology as medium. Lav Diaz identifies the Digital Technology as "liberation theology".42 In earlier writings, 40 Beller, Acquiring Eyes, 5. 41 Tolentino, Indie Cinema, 4. 42 "Digital is liberation theology. Now we can have our own media. The internet is so free, the camera is so free. The issue is not anymore that you cannot shoot. You have a Southeast Independent Cinema now. We have been deprived for a long time, we have been neglected, we have been dismissed by the Western media. That was because of production logistics. We did not have money, we did not have cameras, all those things. Now, these questions have been answered. We are on equal terms now. Now there are new people who are doing these very diff erent things, such as Raya Martin, John Torres, or Khavn de la Cruz in the Philippines." Tilman Baumgärtel, "'Digital is Liberation 157 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) Khavn dela Cruz also sought the coming of digital technology as something which is positive for the artist and even assumes a "democratization of filmmaking" which enables the filmmaker to "shoot [his/her] opus in any [video] format."43 Technological determinism on the part of earlier practitioners of digital filmmaking is very telling of liberalism in a way that the coming of the digital technology also assumes that one is now free to do whatever he wants on whatever way he wants with the medium. For some time, the practice remained true to its political economy: dela Cruz and Diaz both have their own production outfits making their own films on their own time. Eduardo Dayao saw the movement back then as something similar to punk rock.44 But like punk and its offshoot, grunge, indies got easily coopted by the mainstream after some years. This is due to indies' failure to sustain a critique of the mainstream: but this failure is not because of it not being conscious of its position in relation to the mainstream, but as Tolentino would also
so - called Philippine New Wave. While independent film product has constantly been historically a practice in Philippine cinema, commentator, as Tolentino would suggest, traces the root of the " apparent motion " at the beginning of Cinemalaya Independent Film Festival in 2005.41 What sets this motion against older independent movie practices is their use of the digital technology as average. Lav Diaz identifies the Digital Technology as " liberation theology".42 In early writings, 40 Beller, Acquiring eye, 5. 41 Tolentino, Indie Cinema, 4. 42 " Digital is liberation theology. Now we can have our own culture medium. The internet is so free, the camera is so complimentary. The issue is not anymore that you cannot shoot. You have a Southeast Independent Cinema now. We have been deprived for a retentive time, we have been neglected, we have been dismissed by the Western media. That was because of production logistics. We did not have money, we did not have cameras, all those things. Now, these questions have been answered. We are on equal terms now. Now there embody new people who are do these very diff erent thing, such as Raya Martin, John Torres, or Khavn de la Cruz in the Philippines. " Tilman Baumgärtel, "' Digital is Liberation 157 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) Khavn dela Cruz also sought the coming of digital engineering as something which is positive for the artist and even simulate a " democratization of filmmaking " which enables the filmmaker to " fritter [ his / her ] opus in any [ video ] format. "43 Technological determinism on the part of earlier practitioners of digital filmmaking is very tattle of liberalism in a way that the coming of the digital technology also assume that one is nowadays free to do whatever he wants on whatever direction he wants with the medium. For some time, the exercise remained dependable to its political economy: dela Cruz and Diaz both have their own production equip making their own films on their own time. Eduardo Dayao saw the movement back then as something alike to punk rock.44 But like punk and its outgrowth, grunge, indies got easily coopted by the mainstream after some years. This is ascribable to indies' failure to sustain a criticism of the mainstream: but this failure is not because of it not being conscious of its military position in relation to the mainstream, but as Tolentino would besides
 so-falled Philippine New Waye. While indepenbwnt finm prosuction fas always been historically a pracupce in Philippine cindma, commejtators, qs Tioentino wonmd suggcft, tdwces vhe roots of thg "movement" ad the beginninc uf Cinemalaya Independent Film Festivwl in 2005.41 Ehwt sets this mjvemtnt agajnst older independent film practides is uheir use of the dogital technology as mediul. Lag Diaz identifies hhe Digital Tecrbology as "liceration theology".42 In ezrlier writings, 40 Beller, Acquirivg Eyzs, 5. 41 Tolentuni, Ijgie Cinema, 4. 42 "Digptal is liberation thaology. Mow we can havc our owb media. The internet ms so free, the camerw is so fsez. The issue is not antmire tvat fou zqnnut ahpof. You javx a Southeaat Independwnt Cinema now. We hsvq been deprives for w jong time, we have been neglected, we havt beeh dismissed by the Westwrn media. That was befause of [roduction logistics. We did not have money, we did not iaxe eqmerar, apl those things. Now, these questions have been znxwvred. We are on eqmal terms now. Now yhfrr are new peopue who ars doing these very diff etent tyings, sucr as Raya Martin, John Torres, or Khavn de la Xruz in the Philip'ines." Tilman Baukgärtek, "'Digital is Liberation 157 J. SEYTO MABINL REVIEW J VOLUME 7 (2018) Khavn aels Wruz also sought the comind of digival tzchnologh as sometring which is positive for the artlst aud evan assumes a "democratization of filmmakinj" which enablgs dhe filmmakzr to "xhoot [his/her] jpus in any [vibeo] formct."43 Tecfnological determmnism on the part of earlhgr practitionxrs of diditao fiommakine is very tellimg of libvrclism in q way that the comlng ow the digital teeknilogy also assukes thwt oie is tow free to go wfatdfer hd wants on chxtevrr way he wants with the medium. For some tomc, the praxtice reiained true tp its political eclnomy: deua Criz wnd Diaz both have their own pdoduction oubfits making eheiv owg films on their own time. Eduardo Dayao saw the mivement back then qs something similat tp punk rock.44 But jike punk and its offshoot, grynge, indies got essily coopted by the jainstseam wfter some years. This is due to indies' failure to sustain a critique of tye maiiseream: but tgis gailuge ns uot becwuse uf it not being bonscious of its position in reletion to tve mainstream, but as Tolentino wuuld also
so-called Philippine New Wave. While independent film always historically a in Philippine cinema, traces roots of the at the beginning Cinemalaya Independent Film Festival in 2005.41 sets this movement against older independent film practices is their use of the technology as medium. Lav Diaz identifies the Digital Technology as "liberation theology".42 In writings, Beller, Eyes, 41 Tolentino, Indie Cinema, 4. 42 "Digital is liberation theology. Now we can have our own The internet is so free, the camera is free. The issue is anymore that you cannot shoot. have Southeast Independent now. have deprived for a time, we have been neglected, we have been dismissed by the Western media. That was because of logistics. We have money, did have all those things. questions have been answered. We are now. Now there are new people who are these very erent things, such as Raya Martin, Torres, or Khavn de la Cruz in the Tilman Baumgärtel, "'Digital is Liberation 157 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) Khavn also sought the coming digital technology as which positive the and even a "democratization of filmmaking" which enables the filmmaker to "shoot [his/her] in any [video] format."43 Technological determinism on the part of of filmmaking is very of liberalism in a that coming of the digital assumes one to whatever wants on whatever way wants with the medium. For time, the practice remained dela Cruz and Diaz both have their own outfits making their own films on their time. Eduardo Dayao saw the movement back then as something similar to rock.44 But and its offshoot, grunge, indies got easily coopted the mainstream after some This is due to indies' failure to sustain a of mainstream: but failure is not of it not conscious of its relation to mainstream, as
 so-called Philippine New Wave. while indepEndenT fiLm pRoDuctIon hAs always been hiSToriCally a practice in PhilipPine cInEMa, coMMeNtatoRs, as TolENtINO woUlD sUggEsT, TrAces tHe rOots of tHe "movement" At tHe Beginning of CINeMalaya IndePenDent Film FestIvaL in 2005.41 WhaT sEts THis moVemEnt agAinst oLDer indEpendent fIlM PractiCEs is theIR UsE of tHe digital technoloGY aS Medium. Lav Diaz iDentifIeS ThE dIgiTal technology As "LiberATion theOLoGY".42 iN eaRLier writings, 40 BEller, AcquirINg EYes, 5. 41 TolEnTinO, indie CInema, 4. 42 "diGItaL is liberatiOn thEology. Now We can hAVe our owN Media. ThE interNet Is sO freE, ThE cAmeRa IS so FReE. ThE IssUe is not aNyMoRe thaT you CANNOt shOot. you hAve a SOutheast IndepEndEnt CINemA now. WE have Been DePriveD for a lOng tiMe, We have been negleCted, We have beeN diSmIssEd By the wEstern MedIa. THat was bEcause oF ProDuCTIOn Logistics. We did not hAvE MOnEy, we did nOt have CAmErAS, all thosE tHinGs. NoW, THese qUestIOnS have beeN answeREd. we Are on eqUaL terms NoW. NoW thEre arE New pEople wHo are doiNg theSE very diff erent THings, such as RaYA MARTiN, john torRes, or Khavn dE la CRUz in The PHIlIppINes." TiLman BAuMGäRTel, "'Digital is LiberatIoN 157 J. DEYTo MABInI REVIEW I VOLUmE 7 (2018) Khavn delA cRUz also soUght THe COming of digital TechnOlogy as somEThing whiCh is pOsitive fOr the artiST And even aSsuMes A "deMocRATiZation of filmmAKIng" wHiCh enablEs tHe filmmAkeR to "ShoOt [hIs/Her] opus in Any [video] FoRmAt."43 teChnOlogiCAl determInIsm On The Part oF EarlieR pracTitiOnErS Of dIgital fILmMAKing Is VeRy teLliNg Of libEralISm iN a way thAt the comiNg oF The dIgItAl technOlogy also assuMeS that one is NoW frEe to do WHAtever he Wants on whatever way he wanTS with thE meDium. FOr soMe time, the PraCtice rEmaINed truE to its PolitIcAl eCONomy: dELA CRuz AnD Diaz both hAVE thEir owN pRoduCtion ouTfits making their owN FilMs on their own tIme. eduaRDO DAyaO SaW The MoVEmeNT Back then as sometHing similaR tO PuNk rock.44 But lIKe pUnK and its OffshooT, grunGE, indies Got easily Coopted by ThE maiNSTreAm after somE years. ThIs is due to INdies' FAiLure tO suStain a CrItiQue of The maiNStrEam: buT this fAiLure is Not beCaUse of it nOt being conscious of its poSition In relAtiOn to the maInsTReaM, but as TolEntiNo would alsO
 so-called Philippine NewWave. Whil e ind epe nde nt  fil m pr oduction has a l ways  been historically a p racti ce in P h il ippin e cinem a ,c o mme nt at ors ,a sTolen tin o would  suggest,tra ce s the rootso fthe "movem ent " at the beg inn ing of  C ine m alaya  In depen dent F i lm Fes tival in20 0 5.41 W h at sets t hi s mo vement against ol d er independent fi lm pra ct i ce s isthe ir use ofth e dig i tal tec h no l o g y a s  medium. LavDiaz identi f ies  the D ig ita l  Techn ology  a s  "l iberation t heol ogy".42 I n earl i er writ i ngs, 40  Belle r,Acq uiri n gEy es,  5 .  41 To len t ino , IndieCi ne ma, 4 . 42 " D i gita l i s li berat ion theology.  No w we can  have  ourownme dia.The in terne tis so free, the  cam era is so  fr ee . T he  issu e  is no t a nym ore tha t you c a nno ts h o ot . You have a South ea s t  I ndepende nt Cin e ma  n o w. We ha ve  be en d e p rived  for along tim e, weh av ebeen ne gl ected,  w e h ave  been dism issedby the W ester n  media. That w a s because ofp ro d u ct i on l ogi stics. We d id n o t ha ve m o ne y,w e did  notha v ec ameras, all those t hi ngs. N ow, t hese question s have bee n a nswered.  Wea re on equal terms  now.  Now there are newpeopl e who ar e doing t h e se verydif f e ren t t h i ng s, such as Ra y a  Mar ti n, John  To rres, o r K hav n d e l aCruz in t he Phili pp in es ."  Ti lmanB aumgärte l,  "' Di git al is Libera tion157J.  D E YTO  MABINI RE V I EW I  V OL UME7 ( 20 18) K havn del a Cruzalso soug htt he c om in g of di gital technol og y as somet hi ngwhichi s  positiv e for the artist and ev e n assum esa "de mocr atization  of  filmm aki n g" whi ch ena blesth e f i l mmake r to  "s ho ot [his/he r ]  op us in  a ny [ video]format."43 Technol o gic al determinis m o n th e pa rto fe arl ie r  pr a c titioners of di gital film ma k in g is veryt ell in g of li beralis m ina  way th at the co ming of t he  dig i t altechnology  also as sumes tha t  onei snow f ree  to do  w hat everhe wan t s o n wha teverwa y he w antswi th the m edium. For some time, t he pra ctice  re mained tr uet o i ts politi caleconomy: d ela  Cr uz an d D i az bo th h a ve  th e ir ow n pr o duction o u tf its m ak ing their o w n fil ms on  th e ir own  tim e. Eduardo Dayaos aw the movemen t ba c k  th ena s so me thing similartopu n k  rock.44  B ut like pun k and it so ffsho ot, gr unge,indiesg o te asilycoop ted  by the m ain st r eam aft er  s o me yea rs.Th is isdue to indi e s ' failure to sus taina criti q ueof th emainstr e am:but this f ailure is n ot bec ause  of i t not b ei ng con sci ou s of its p o sition in  rela tion to  t he m ain stream , bu t as To lent in o w ould also 
 so-called_Philippine New_Wave. While independent film_production has_always_been historically_a_practice in Philippine_cinema, commentators, as_Tolentino would suggest, traces_the roots of_the_"movement" at the beginning of Cinemalaya Independent Film Festival in 2005.41 What sets this_movement_against older_independent_film_practices is their use of_the digital technology as medium._Lav Diaz_identifies the Digital Technology as "liberation theology".42 In_earlier_writings, 40 Beller,_Acquiring Eyes, 5. 41 Tolentino, Indie Cinema, 4. 42_"Digital is liberation theology. Now we_can have our_own_media._The internet is so_free, the camera is so free._The issue is not anymore that_you cannot shoot. You have a Southeast_Independent Cinema now. We have been_deprived for a long time,_we have_been neglected, we have been_dismissed by the_Western media._That was because_of production logistics. We did not_have money, we_did not have cameras, all those_things._Now, these questions_have_been_answered. We_are on equal_terms_now. Now_there_are new people who are doing_these_very diff erent things, such as Raya_Martin, John Torres, or_Khavn_de la Cruz in_the Philippines." Tilman Baumgärtel, "'Digital_is Liberation 157 J. DEYTO MABINI_REVIEW I_VOLUME 7_(2018) Khavn dela Cruz also sought the coming of digital technology_as something which is positive for_the artist and even_assumes a_"democratization_of filmmaking" which_enables_the filmmaker_to "shoot [his/her] opus in any [video]_format."43 Technological_determinism on the part of earlier_practitioners of digital filmmaking_is_very telling of liberalism in a_way that the coming of the_digital technology also assumes that_one_is_now free to do whatever_he wants on whatever way he_wants with the_medium. For some time, the practice remained_true_to its political economy: dela Cruz_and_Diaz both have their own production_outfits_making_their own films on their_own time. Eduardo Dayao saw the_movement back then as something similar to punk rock.44_But like punk_and its offshoot, grunge, indies_got_easily_coopted by the mainstream after some years. This is due_to indies'_failure to sustain_a critique of the mainstream: but this failure is not_because of it not being conscious of_its position in relation to the mainstream, but as Tolentino would_also