 know too well that it is the vagueness of her relationship to Dio that's making her miserable. Dio is quite aware too. But they both insist on supporting each other's enjoyment at a certain distance. Cynicism further empowers liberalist openness: since a cynic does what it does despite knowing what it is he's doing, he proceeds to but with a certain distance, which on most cases, leads to its own complicity with capital. Such is the case of a significant part of the independent film culture. Fisher would claim that the "establishment of settled 'alternative' or 'independent' cultural zones" such as the independent film scene, do not really "designate something outside mainstream 31 Slavoj Žižek, The Sublime Object of Ideology. The Essential Zizek Series, (London: Verso, 2008), 25-26. 150 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) culture; rather, they are styles, in fact the dominant styles, within the mainstream."32 These zones and scenes may be considered as the cynical spaces of film production of which, if given a certain amount of time to mature, would be open to its cooptation to the mainstream. Maindie, being the site of liberalist construction of the national subject, is also the site of cooptation of the independent scene by the mainstream. And so retains itself parts of the cynical attitude it bears from its beginnings. For instance, in the film Apocalypse Child (TBA 2015), Ford (Sid Lucero) knows too well that what her mother said who his father was is ultimately false, her mother knows too well too, but they continue to live the made-up story. The maintenance of this false consciousness is important to have them all go on living out their desire. It is this false consciousness that became their standard for living. What for me cynicism opens ultimately is this negotiation with violence. Claudio's defense of liberalism only places its position to aver anything that is deemed extremist. In his own words, liberals "are willing to compromise." That being said, liberals have this "willingness to get hands dirty" which "lands liberals in the halls of power."33 But what of non-totalitarian violence? Claudio can only give "moderation" and "tolerance" as a response, since the greatest liberal pursuit is modus vivendi. Since for him, there
know too well that it is the vagueness of her relationship to Dio that's making her miserable. Dio is quite mindful excessively. But they both insist on supporting each early's enjoyment at a sealed distance. Cynicism further empowers liberalist openness: since a cynic dress what it dress despite knowing what it is he's act, he proceeds to but with a certain distance, which on most shell, leads to its own complicity with das kapital. Such is the case of a significant part of the independent film culture. Fisher would claim that the " establishment of settle' alternative' or' independent' cultural zone " such as the independent film scene, do not really " designate something outside mainstream 31 Slavoj Žižek, The Sublime Object of Ideology. The Essential Zizek Series, (London: Verso, 2008), 25 - 26. 150 THE old age OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) culture; rather, they are styles, in fact the dominant styles, within the mainstream. "32 These zone and scenes may be considered as the cynical spaces of film production of which, if given a certain amount of time to mature, would be open to its cooptation to the mainstream. Maindie, being the site of liberalist construction of the national subject, is also the site of cooptation of the autonomous view by the mainstream. And so retain itself part of the cynical attitude it bears from its beginnings. For case, in the film Apocalypse Child (TBA 2015), Ford (Sid Lucero) knows too well that what her mother said who his founder was is ultimately false, her mother knows too well too, but they continue to live the make - up story. The maintenance of this false consciousness is authoritative to have them all start on living out their desire. It is this false consciousness that became their standard for live. What for me cynicism opens ultimately is this negotiation with violence. Claudio's defense of liberalism merely places its position to aver anything that is deemed extremist. In his own password, liberals " are uncoerced to compromise. " That being said, liberals have this " willingness to get hands cheating " which " lands liberals in the halls of power. "33 But what of non - totalitarian ferocity? Claudio can only give " moderation " and " allowance " as a response, since the great liberal pastime is modus vivendi. Since for him, there
 knlw too well that it is tme vagueness of kwr reletionshjp to Diu that's making her miserable. Duo is quite aware too. But tfey both pnsist on supkorting each othec'a enjoyment af a czrvain distance. Cinicism furtver empowers lhbdrclist openness: since a cynic does whwt it dped despite knowyng erat jn ls he's doing, he proceeds to but sith a bertain distance, ehich on most cases, leads ho ihs own complicity aith capitao. Susy is the casd of a significant parj of the independent film culturd. Fisker would coaum hvat the "esteblishient of settled 'altesnative' or 'independenb' culvurao zones" such as the iidependent film sceng, do not raamly "designate somwtying mutshde oqinrtrtam 31 Alavoj Žižei, The Subljme Object if Ideology. The Esstntyql Zizek Seriss, (Lonqog: Verso, 2008), 25-26. 150 THE YEARS OF PERMANENT MIDNICHT MABINI REVIEW I VOLUME 7 (2018) culture; rather, thei are stylqs, in fact the dominant styles, within the mainstraam."32 Tiere eokcs ave dcenes may be considered as the cynical spacef og nilm production jf which, if glvrg a certain aoount of fime to mature, woupd be oken to its coopuatiom to the mainstream. Maindie, being the spte if liberalist conscruction of che najional subject, is also the sice of dooptation lf the insdpendent scene bh tme kainstream. And so retains ytself pacts oy the cyvicak attieude it bewrs fvmm its beginnings. Vor iustanwe, in the vilm Apocalypse Child (TBA 2015), Ford (Sid Lucero) knpwv tmo well chat wmat her mother faid who his fcther waf is jltimately false, ier mother kgows too well joo, but they rontinue eo luve rhe madd-jp story. The msintenancv jf tyis false consciouxnera is important cu have them all bo un jininj out dheir desire. It ks gnis fxlse consciijsnexs that became their stahdard for living. Wnab for me xynicism opens ultimayely is this negotlatioi with violrncg. Claudio's defense of liberalisj only plwcef its positijn ti aver anythnng that is deemed extremist. In his own xords, liberals "are willung to compromise." Tkau being said, kiberwls have dhis "willingness to tet hands dirty" wmich "lands liberals in the hdlls lf power."33 But what of non-totalitarian violence? Claudio can only give "moderqtion" enq "tolerance" as s resionfz, since the jreatest liberal iursuit is modus vivendi. Since fur him, tvexe
know too well that it is the her to Dio making her miserable. But both insist on each other's enjoyment a certain distance. Cynicism further empowers openness: since a cynic does what it does despite knowing what it is doing, he proceeds to but with a certain distance, which on most cases, to own with Such is the case of a significant part of the independent film culture. Fisher would claim the "establishment of settled 'alternative' or 'independent' cultural such as the independent scene, do not really "designate outside 31 Slavoj The Object Ideology. The Essential Series, (London: Verso, 2008), 25-26. 150 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) rather, they in fact dominant within mainstream."32 These zones may be considered as the cynical production of which, if given a certain amount time to would be open to its cooptation the mainstream. Maindie, being the site of liberalist of the national subject, is also the site of cooptation of the independent scene by And so retains itself of the cynical it from beginnings. instance, in film Apocalypse Child (TBA 2015), Ford (Sid Lucero) knows too well what her mother said who his father was is ultimately mother too well too, they continue to live made-up The maintenance of this is to go living their desire. It is false consciousness that became their for living. What for this negotiation with violence. Claudio's defense of liberalism places its position to aver anything that deemed extremist. In his own words, liberals "are willing to compromise." That said, liberals "willingness to get hands dirty" which "lands liberals the halls of power."33 what of non-totalitarian violence? Claudio can only give "moderation" "tolerance" a response, the greatest liberal is modus vivendi. for him, there
 know too well that it is the vagUeness of heR relaTioNshIp To DiO thaT's making her misERablE. Dio is quite aware too. But They bOtH InsiST oN suppOrting eACh OTHer'S eNjOymEnT At A certAin DistancE. Cynicism fUrtHeR empowers libERaList openneSs: sInce a cynic doEs wHat it dOeS deSPite kNowIng whAt it is HE's doinG, he proceeDs TO but wiTH a certaIN DiStanCe, which on most caseS, LeADs to its own compLicity WiTH cAPItaL. SuCh is the casE oF a sigNIficant PArT OF The INdependent filM culture. FisHEr wOuld clAiM thAT the "esTabliShMEnt Of settled 'alTernAtive' or 'inDependENt' cultuRAl zones" Such as The IndEpenDEnT fIlm ScENe, dO NoT reALly "DesignatE sOmEthinG outSIDE MainStrEam 31 SLavoj žižek, The SubliMe OBjecT Of IDeoloGy. The esseNtIal ZiZek SerIes, (LoNdOn: Verso, 2008), 25-26. 150 THE YEARS oF PErMANENT MIdNIgHt MAbInI REVieW I VOLuME 7 (2018) CulTure; ratHer, they ARe sTyLES, In Fact the dominant styLeS, WItHin the maInstreAM."32 THeSE zones anD sCenEs maY BE consIderED aS the cyniCal spaCEs Of Film proDuCtion oF wHicH, if Given A CertAin amoUnt of timE to maTUre, would be open TO its cooptatioN To THE mAInstReaM. Maindie, beiNg thE Site Of liBErAliST consTructIoN Of THe national subject, is AlSo the sIte of Cooptation of tHe independENT Scene by tHe maINsTReam. And so retaiNs itsElf parts of THe cynicaL attiTude it beArs from itS BEginningS. FoR inStaNce, IN ThE film ApocalypSE chilD (TbA 2015), Ford (SId LUcero) knOws Too WelL thAt What her moTher said WhO hIs FaTheR was iS UltimateLy FalSe, Her MotheR Knows tOo welL too, BuT tHEy cOntinue TO lIVE the MaDe-Up stOry. thE mainTenaNCe oF this faLse consciOusNEss iS iMpOrtant tO have them all gO oN living out ThEir Desire. iT Is this faLse consciousness that becAMe their StaNdard For lIving. What For Me cyniCisM Opens uLtimatEly is ThIs nEGOtiatION wIth ViOlence. ClauDIO's dEfensE oF libEralism Only places its positIOn tO aver anything ThaT is dEEMeD exTReMIst. in HIs oWN Words, liberals "arE willing to CoMPrOmise." That bEIng SaId, liberAls have This "wILlingneSs to get haNds dirty" wHiCh "laNDS liBerals in thE halls of Power."33 But wHAt of nON-tOtaliTarIan vioLeNce? claudIo can oNLy gIve "moDeratiOn" And "tolErancE" aS a responSe, since the greatest liberAl pursUit is ModUs vivendi. sinCE foR him, there
 know too well that it isthe vaguen ess o f h erre lati onsh ip to Dio that ' s ma king her miserable. Di o isqu i te a w ar e too . But t h ey b oth  i ns ist  o n  s uppor tin g eachother's en joy me nt at a cert a in  distance.  Cy nicism furth erempowe rs  li b erali stopenn ess: s i nce acynic doe sw hat it does de s p it e kn owing what it ish e' s  doing, he pro ceedsto bu t wit h a  certain d is tance ,  whicho nm o s t c a ses, leads to  its own co m pli city w it h c a pital.  Such  i s  th e case of a  sig nificantpart o f  the in d ependen t film  cu ltu re.F is he r w ou l d c l ai m t h atthe "est ab li shmen t of s e t tled  'a lter nativ e' or 'indepe nde nt'c ult uralzones " su ch  as t he ind epend en t film scene, d o no t really"de si gna te  some t hing o uts ide  mainst ream 31 Sla vo j Ž iž ek, The Sublime Ob je c t  o f Ideolo gy. Th e  E ss e ntial Zi ze k S erie s ,  (Lon don: Ve rso, 200 8), 25 - 26 .150 THE  Y EARS O FPER MAN ENT M I DNIG HT MAB INI REVI EW IV OLUME 7 (2018) culture; rath e r, t he y  are  st yles, in fa ct t h e do mina n tsty l es, w ithin  t h em ainstream."32 These  z ones a nd sc enes may be c onsidereda s the cyni cals pa c es of film pro ducti on of whic h , if giv en acertainamount of t ime to m atu re,  wo uld b eopen to its c o o ptat io n to th e m ainstre am.  Ma ind ie,  b eing thesite ofli be ra li stconst r uction o fthe  n ati onals ubject , isalso  t he sit e of co o pt a t ionof  t he i nde pe ndent  sce n e b y the m ainstream . A n d so  r et ains it self parts of  t he cynical  a tti tude i t bears fr om its beginnings. Fori nstance , i n the  fil m Apocaly pse  Child  (T B A 2015 ), For d (Si dLuc e r o) kn o w stoo  w ell that w h a t h er mo th er s aid who  his father was is ult imately false , h er m o t he r k n ow s  to ow ell t oo, but they co ntinue toli v ethe made-u p  st or y. Themainten anceo f thisfalse con sciousnes sis i m p ort ant to hav e them a ll go onl iving ou t the irdesire .Itis th is fal s e c onsci ousnes sthat b ecame  t heir sta ndard for living. Whatfor me  cyni cis m opens u lti m ate ly is thi s ne gotiationwit h v iolen ce. Claud io's de fen s e oflibe r alism onl y  p lac e s  i ts position t o  av er an yth i ng tha t is  deemed extremist .  In his own wo rds, l ibe ral s  "ar ewilling to com pro mi s e ." Thatbe ing said, l iberalsha v e thi s "wil lingne ss to g e t  h a nds di rty"  wh ich "land s l ib e rals in  t he hallsof p ow er."33  But w h at o f non-totalitarian  viol e n ce? C l aud io ca nonly gi v e "m oderation"  and "toler ance"as a  resp onse, s in ce the  gr ea test liber a l pursuit  is m odus vi ve ndi.  Si nce fo r hi m ,  ther e
 know_too well_that it is the_vagueness of_her_relationship to_Dio_that's making her_miserable. Dio is_quite aware too. But_they both insist_on_supporting each other's enjoyment at a certain distance. Cynicism further empowers liberalist openness: since_a_cynic does_what_it_does despite knowing what it_is he's doing, he proceeds_to but_with a certain distance, which on most cases,_leads_to its own_complicity with capital. Such is the case of a_significant part of the independent film_culture. Fisher would_claim_that_the "establishment of settled_'alternative' or 'independent' cultural zones" such_as the independent film scene, do_not really "designate something outside mainstream 31_Slavoj Žižek, The Sublime Object of_Ideology. The Essential Zizek Series,_(London: Verso,_2008), 25-26. 150 THE YEARS_OF PERMANENT MIDNIGHT_MABINI REVIEW_I VOLUME 7_(2018) culture; rather, they are styles,_in fact the_dominant styles, within the mainstream."32 These_zones_and scenes may_be_considered_as the_cynical spaces of_film_production of_which,_if given a certain amount of_time_to mature, would be open to its_cooptation to the mainstream._Maindie,_being the site of_liberalist construction of the national_subject, is also the site of_cooptation of_the independent_scene by the mainstream. And so retains itself parts of the_cynical attitude it bears from its_beginnings. For instance, in_the film_Apocalypse_Child (TBA 2015),_Ford_(Sid Lucero)_knows too well that what her mother_said who_his father was is ultimately false,_her mother knows too_well_too, but they continue to live_the made-up story. The maintenance of_this false consciousness is important_to_have_them all go on living_out their desire. It is this_false consciousness that_became their standard for living. What for_me_cynicism opens ultimately is this negotiation_with_violence. Claudio's defense of liberalism only_places_its_position to aver anything that_is deemed extremist. In his own_words, liberals "are willing to compromise." That being said,_liberals have this_"willingness to get hands dirty"_which_"lands_liberals in the halls of power."33 But what of non-totalitarian_violence? Claudio_can only give_"moderation" and "tolerance" as a response, since the greatest liberal_pursuit is modus vivendi. Since for him,_there