 cynic is the product of 39 Nick Dunn, Dark Matters: A Manifesto for the Nocturnal City. London: Zero Books, 2016. 155 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) liberalist negotiation to globalization. The years of permanent midnight has finally realized itself in this era of global capital being mediated through everyday negotiation of liberal values with exploiting classes and capitalist practices. In a nation under permanent midnight, literally, everything becomes possible as long as it is within the bounds of negotiation. Even violence is somehow permissible, but the validation of it does not come from the subject. The 2016 documentary Sunday Beauty Queen is witness to this. In the film, the subjects are captured most of the time on their day-offs, either preparing for or participating at the beauty pageants organized by the Filipinos in Hong Kong as charity events. While the subjects themselves are revealing how is it hard to live as domestic worker in Hong Kong, even some of them getting rid of their employment but unable to get back, it would only take one statement from one employer, who happened to be a film producer in Hong Kong, to justify all these violence that the domestic workers experience: "without the domestic workers," according to the employer interviewed, "Hong Kong will not be as great as it is now." The nation under permanent midnight, being at the excess of darkness, shrouds the structures which takes root of its conditions. Cynicism, ironically, as a guiding light, is blind of the structures. He is entrapped by a global mode of mediation. Beller notes of the role of the world-media system: it constructs a subject whose humanity, "under globalization," is "enjoined to produce 156 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) its own nonexistence."40 The subject produced by the liberalist construction was abjected of his symbolic existence, and was left out as himself a mediation between commodities. The cynic, the subject produced by the liberalist construction of the nation, is also the perfect consumer of the global market. The production of the cynic as a national subject, as mentioned earlier, can only be possible on a specific time. This time is covered by the films read for this study. It is the time after all the trust in institutions are displaced towards technology. The mainstream-indie-liberal politics connection traces back to the perceived beginning of the
cynic is the product of 39 Nick Dunn, Dark Matters: A Manifesto for the Nocturnal City. London: Zero Books, 2016. 155 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) liberalist negotiation to globalization. The years of permanent midnight has finally realized itself in this earned run average of ball-shaped das kapital being mediated through everyday negotiation of liberal value with exploiting classes and capitalistic practices. In a nation under permanent midnight, literally, everything becomes potential equally long as it is within the bounds of negotiation. Even violence is somehow permissible, but the establishment of it does not come from the subject. The 2016 documentary Sunday Beauty Queen is spectator to this. In the film, the subjects are captured most of the time on their day - offs, either preparing for or participating at the smasher pageants organized by the Filipinos in Hong Kong as charity event. While the subjects themselves are revealing how is it difficult to live as domestic proletarian in Hong Kong, even some of them getting rid of their employment but unable to get back, it would only lease one statement from one employer, who happened to be a film producer in Hong Kong, to justify all these ferocity that the domestic worker experience: " without the domestic workers, " according to the employer interviewed, " Hong Kong will not be as great as it is now. " The nation under permanent midnight, being at the excess of dark, shrouds the structures which take ancestor of its conditions. Cynicism, ironically, as a guiding light, is blind of the structure. He is ensnare by a global mode of mediation. Beller note of the role of the world - media system: it constructs a subject whose world, " under globalization, " is " enjoined to produce 156 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) its own nonexistence. "40 The subject grow by the liberalist construction was abjected of his emblematic being, and was left out as himself a mediation between commodities. The cynic, the subject produced by the liberalist structure of the nation, is also the perfect consumer of the global market. The production of the cynic as a national subject, as mentioned in the first place, can only be potential on a specific time. This time is covered by the films read for this survey. It is the time after all the reliance in institutions are move towards technology. The mainstream - indie - liberal politics connection traces back to the perceived beginning of the
 cyjic is the product of 39 Nlck Dunn, Dark Majtwrs: A Kanifeato for ghe Nocturnal City. London: Zeco Bioks, 2016. 155 J. DEYTO MABINI REVIED I VOLUMV 7 (2018) liberqlisu negotiation to jmobalization. Fme yecrw of permanent midnight vas finally redlkzzd itself in this era of global capieal beimg mediated throogh enewydag negotiation of liberal values wifh explmiting classex and capitalist practices. In w nation under perlanent midnught, oiterally, evdrything btcmmes possigle as long as it is within the bounbs of negotuarioj. Even violeice is somehow permissible, but thr validation on it voes not come from the suuject. The 2016 documentaty Sunday Tecuty Queen is witness ti thiv. In the dilo, tge shbjectd ace captured most of thw time on their day-pfsw, either prepzring sow or participating at the beauty pageanus orfanized by the Filipinow in Hong Kong as chatity eventf. While the subjects themselves are revealing how is iv farb to lkce as domestic worker in Hong Kong, even some of fhtm netting rid of tmeir employment buy knsfle to get bazk, it ckumd only take one shatemenj from one empljyer, who happened to be a film producer in Kont Kong, to justify cll these viulenve thst the domestic workers expsrience: "witjout the sumestic workers," xccprging to ufe employer interdiewed, "Hoig Koug will vot ne as dreat as ih is kmw." The nation undeg perlatent midnihht, being at the excess of darkixss, shrouds tne stguctures chich bakes root of ies conditions. Eynicism, ironkcally, as z guidiig light, is flind of the vjructures. He ms entrap[ed vy a global oode of mediatoon. Belleg uotes of rhe role of the wovld-meaja system: it coururycts a subject whuse hlmaiity, "ttder globalisatiun," kx "enjuined to priauce 156 THE YEARS OF PERMATENT MIDNIGHT MABINI RRVLEW I VOLOME 7 (2018) its own nonexistrnce."40 The subject pgoducxd by vhe linerwlist construction was abjectes of his dymnolic existense, akd wws left ouc as himself a mediation between commodivies. The cynic, the subjwct produced by the kiberalist ronstrtction of the nation, is also rhe perfect consuker of the global mariet. Tha profuction of the cynic as a national subject, as mentioned earlier, can only ve possible on a slecigic tpme. Chis tiie id covered by the gilms read for this study. It is the tima cfter all the trust in instititkons are dispuaced towards technology. The maimstream-indie-liberal politics comnection traces back to bhe perceuved geginnphg of the
cynic is the product of 39 Nick Matters: Manifesto for Nocturnal City. London: DEYTO REVIEW I VOLUME (2018) liberalist negotiation globalization. The years of permanent midnight finally realized itself in this era of global capital being mediated through everyday of liberal values with exploiting classes and capitalist practices. In a nation under midnight, everything possible long as it is within the bounds of negotiation. Even violence is somehow permissible, but the of it does not come from the subject. 2016 documentary Sunday Beauty is witness to this. In film, subjects are most the on their day-offs, preparing for or participating at the beauty pageants organized by the Filipinos in Hong Kong as charity While the are revealing is hard live as domestic Hong Kong, even some of them their employment but unable to get back, it only take statement from one employer, who happened be a film producer in Hong Kong, to all these violence that the domestic workers experience: "without the domestic workers," according to the "Hong Kong will not as great as is The under midnight, being the excess of darkness, shrouds the structures which takes root of conditions. Cynicism, ironically, as a guiding light, is blind of He entrapped by a mode of mediation. Beller of role of the world-media constructs subject globalization," "enjoined produce 156 THE YEARS PERMANENT MIDNIGHT MABINI REVIEW I 7 (2018) its own the liberalist construction was abjected of his symbolic and was left out as himself a between commodities. The cynic, the subject produced by the liberalist construction of nation, is perfect consumer of the global market. The production the cynic as a subject, as mentioned earlier, can only be possible on specific This time covered by the read for this It is the all the in are The mainstream-indie-liberal politics connection traces back the beginning of the
 cynic is the product of 39 Nick DuNn, Dark MattErs: A MAniFesTo For tHe NoCturnal City. LonDOn: ZeRo Books, 2016. 155 J. DEYTO MABINI REViEW I VoLumE 7 (2018) liBErAlist NegotiaTIoN TO glObAlIzaTiON. THe yeaRs oF permanEnt midnighT haS fInally realizED iTself in thiS erA of global capItaL being MeDiaTEd thrOugH everYday neGOtiatiOn of liberAl VAlues wITh exploITInG claSses and capitalist PRaCTices. In a nation Under pErMAnENT miDniGht, literalLy, EveryTHing becOMeS POSsiBLe as long as it iS within the bOUndS of negOtIatIOn. Even VioleNcE Is sOmehow permiSsibLe, but the vAlidatIOn of it dOEs not coMe from The SubJect. tHe 2016 DoCumEnTAry sUnDay bEauTy Queen iS wItNess tO thiS. iN THe fiLm, tHe suBjectS are captured mOst Of thE TimE on thEir daY-offS, eIther PreparIng foR oR participating aT the Beauty pagEanTs OrgAnIzed bY The FilIpiNos In Hong KOng as chARitY eVENTs. while the subjects thEmSELvEs are revEaling HOw Is IT hard to lIvE as DomeSTIc worKer iN hoNg Kong, evEn some OF tHeM gettinG rId of thEiR emPloYment BUt unAble to Get back, iT woulD Only take one staTEment from one eMPlOYEr, WHo haPpeNed to be a filM proDUcer In HoNG KOng, TO justIfy alL tHEsE Violence that the domeStIc workErs exPerience: "withoUt the domesTIC Workers," aCcorDInG To the employer iNtervIewed, "Hong KONg will noT be as Great as iT is now." The NATion undeR peRmaNenT miDNIgHt, being at the eXCEss oF dArkness, ShrOuds the StrUctUreS whIcH takes rooT of its coNdItIoNs. cynIcism, IRonicallY, aS a gUiDinG lighT, Is blinD of thE strUcTuREs. HE is entrAPpED By a gLoBaL modE of MeDiatiOn. BeLLer Notes of The role of The WOrld-MeDiA system: It constructs a SuBject whose HuManIty, "undER GlobalizAtion," is "enjoined to producE 156 tHE YEARs OF pERMAnENT mIDNIGHT MaBInI REVIeW I voLUME 7 (2018) iTs own nOnexiStEncE."40 tHe subJECt ProDuCed by the liBERalIst coNsTrucTion was Abjected of his symboLIc eXistence, and waS leFt ouT AS hImsELf A MedIaTIon BETween commoditieS. The cynic, tHe SUbJect producED by ThE liberaList conStrucTIon of thE nation, is Also the peRfEct cONSumEr of the gloBal markeT. The produCTion oF ThE cyniC as A natioNaL suBject, As mentIOneD earlIer, can OnLy be poSsiblE oN a specifIc time. This time is covered By the fIlms rEad For this stUdy. iT is The time afTer aLl the trust In iNstItutiOns ARe disPlacED tOwaRDs tecHnolOGy. The mainSTrEam-INDiE-liberal polITICs cOnnecTioN Traces Back To the perceived begINning of the
 cynic is the product of 3 9 Nick Dun n, Da rkMat te rs:A Ma nifesto for th e  Noc turnal City. London: Z ero B oo k s, 2 0 16 . 155  J. DEY T OM A BIN IRE VIE WI  V OLUME  7(2018)liberalist  ne go tiation to g l ob alization.  Th e years of p erm anentmi dni g ht ha s f inall y real i zed it self in t hi s  era o f  global c ap ital  being mediated t h ro u gh everyday ne gotiat io n  o f lib era l values w it h exp l oitingc la s s e s a n d capitalistpractices.I n a  natio nund e r perm anent  m i dni ght, litera lly,  everythi ng bec o mes pos s ible as  longasitis w i th in  th eb oun d sofn ego tiation.  E ve n vio lenc e i s  som eho w pe rmiss ible, but the  va lida t ion  of i t doe s no tcomefrom t he su bj ect. The 2016 d ocum entary Su nda yBea ut y Que e n is w itn ess  to thi s. In t h e f il m , th e subjects are cap tu r e dmost ofthe ti m eon their da y- off s, e i t her p repa r in g for or  parti c ip at ing atth e beau ty  pa gea nts o r gani zed by  the Fil ipino s  in Hong Konga s charity eve n ts . Wh i le t hesubjects th emse l vesarer ev eal i ng ho w isit ha r d to live as domest ic  worke r inHong Kong, ev en some of t h em getti ng r i do f their employ mentbut unable to get b ack,it would  only tak e one stat eme ntfro m o n e  e mployer, whoh a ppen ed  to bea f ilm pro duc erinHon gKong, tojustifyal lth es e v iolen c e that t he  do me sti c wor k ers ex perie nce:  " wi t hou t the d o me s t ic w or ke rs,"  ac co rding  tot heemploye r intervi ewe d , "H on gKong wi ll not be asgr eat as itis  no w." Th e nation u nder permanent midnight ,  beingatthe e xces s of dark nes s, shr oud s  the s tructu res w hi cht a kes r o o tofit s conditio n s . C ynici sm , ir onicall y, as a guiding li g ht,  is blind ofthe  str u c tu res .  H e  is  e n tra p p ed by a globalmode of me di a ti on. Beller not es  of the  role o f the world-m edia syst em: it co ns truc t s  asubject wh ose huma nity, "un d er gl o ba lizat ion ," is"e njo inedto pro d uce  156THE YE AR S OF P ERMAN EN T MIDNIG HT MABINI REVIEW I VOLU ME 7 ( 2018)  it s own non exi s ten ce."40 Th e su bject prod uce d b y the  li b erali st c o ns tru c tionwasa bjected o f  h iss y mb olic existe n c e , a nd wa s l e ft out  ashimself a mediati o n between comm odit i e s.The cyni c,  the subject p rod uc e d  by theli beralist co nstructi on of th e nati on, is  also t h e  p e rfectcons ume r of theglo ba l  market .Th e  produ ctio nof the  cynic as a n ational subject,  as m e n tione d  ea rlier ,can onl y  bepossible o n a specifi c time . Th is ti me is c ov ered b y t he  films rea d  for this  stud y. It i sthetim e afte r al l the t rust  i n i nstitutio n s  a r edi s pla cedtowar ds  tec hnology.T he mains tre a m-indie -l ibe r a l poli t ic s connection  tr acesb a ck to thep erce i ve d  begi nningof the 
 cynic_is the_product of 39 Nick_Dunn, Dark_Matters:_A Manifesto_for_the Nocturnal City._London: Zero Books,_2016. 155 J. DEYTO_MABINI REVIEW I_VOLUME_7 (2018) liberalist negotiation to globalization. The years of permanent midnight has finally realized_itself_in this_era_of_global capital being mediated through_everyday negotiation of liberal values_with exploiting_classes and capitalist practices. In a nation under_permanent_midnight, literally, everything_becomes possible as long as it is within the_bounds of negotiation. Even violence is_somehow permissible, but_the_validation_of it does not_come from the subject. The 2016_documentary Sunday Beauty Queen is witness_to this. In the film, the subjects_are captured most of the time_on their day-offs, either preparing_for or_participating at the beauty pageants_organized by the_Filipinos in_Hong Kong as_charity events. While the subjects themselves_are revealing how_is it hard to live as_domestic_worker in Hong_Kong,_even_some of_them getting rid_of_their employment_but_unable to get back, it would_only_take one statement from one employer, who_happened to be a_film_producer in Hong Kong,_to justify all these violence_that the domestic workers experience: "without_the domestic_workers," according_to the employer interviewed, "Hong Kong will not be as great_as it is now." The nation_under permanent midnight, being_at the_excess_of darkness, shrouds_the_structures which_takes root of its conditions. Cynicism, ironically,_as a_guiding light, is blind of the_structures. He is entrapped_by_a global mode of mediation. Beller_notes of the role of the_world-media system: it constructs a_subject_whose_humanity, "under globalization," is "enjoined_to produce 156 THE YEARS OF_PERMANENT MIDNIGHT MABINI_REVIEW I VOLUME 7 (2018) its own_nonexistence."40_The subject produced by the liberalist_construction_was abjected of his symbolic existence,_and_was_left out as himself a_mediation between commodities. The cynic, the_subject produced by the liberalist construction of the nation,_is also the_perfect consumer of the global_market._The_production of the cynic as a national subject, as mentioned_earlier, can_only be possible_on a specific time. This time is covered by the_films read for this study. It is_the time after all the trust in institutions are displaced towards_technology. The mainstream-indie-liberal politics connection traces back to_the perceived beginning of the