 become paradoxical in its operation as apparatus: what is to be represented (since cinema mostly functions through representation and suggestion) if it aims for less symbolization? If it is the "traditional" notion of the nation that will be erased from representation, if not, "nationalism" itself, what then is to be done with cinema? It needs to have another object – another ideology – to represent. This was resolved by a new sub-genre in romantic comedy, which is hugot. The word literally means "to pull-out," which in this context, a hugot in literary sense is a recontextualization of a certain passage or sentence which is pulled-out of personal reference In an earlier study I made, I identified the way of which hugot films succeeds on reproducing ideology through the repetition of the dialogues uttered by the 19 Karatani, Nation and Aesthetics, 22. 141 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) characters into the films' visual plane.20 The hugot in the film do not remain exclusively dialogical (it's no more a compendium of "hugot lines"), but is being repeated as a spectacle. What this signify in the context of the nation is that, what replaces the symbolizations and significations referring to anything that has something to do with the nation and nationalism are being replaced in hugot films by seeming representations of characters' frustrations. For instance, in That Thing Called Tadhana's opening sequence, we see Mace (Angelica Panganiban) unloading her bag to clear her off the excess baggage weight at the exit terminal of an airport. Mace justified that it is heavy because it contains the totality of her life ("dala ko kasi buong buhay ko dito"). The things which are "the totality of her life" – what's she removing from her bag – are mostly things which suggest that reminds her of her former partner. In another scene, Anthony (JM De Guzman) tests Mace if she can still carry the bag while crossing a pedestrian over-pass. Mace said to Anthony that she still can and she doesn't need help ("kaya ko"). The bag which burdens her was suddenly left behind while they go for another trip to somewhere. The same film-language is applied in Ang Kwento Nating Dalawa, on one of its heightened confrontations. In a scene at a bar, Sam (Nicco Man
become paradoxical in its operation as apparatus: what is to be represented (since cinema mostly officiate through theatrical performance and suggestion) if it aims for less symbol? If it is the " traditional " impression of the nation that will be erased from representation, if not, " patriotism " itself, what then is to be dress with cinema? It necessitate to have another object – another political orientation – to represent. This was resolved by a new sub - writing style in romantic comedy, which is hugot. The word literally means " to pull - out, " which in this context, a hugot in literary common sense is a recontextualization of a certain passage or sentence which is attract - out of personal reference In an earlier cogitation I made, I identify the way of which hugot films succeeds on reproducing ideology through the repeat of the dialogues uttered by the 19 Karatani, Nation and Aesthetics, 22. 141 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) characters into the films' visual plane.20 The hugot in the film do not persist exclusively dialogical (it's no more a compendium of " hugot lines "), but is being repeated as a spectacle. What this signify in the context of the nation is that, what replaces the symbolizations and significations referring to anything that have something to do with the nation and nationalism are being replace in hugot films by seeming representations of character' frustrations. For instance, in That Thing Called Tadhana's hatchway sequence, we see Mace (Angelica Panganiban) unloading her bag to clear her off the excess baggage weight at the passing terminal of an airport. Mace justified that it is heavy because it contains the totality of her life (" dala ko kasi buong buhay ko dito "). The things which are " the entirety of her life " – what's she removing from her bag – are mostly things which indicate that reminds her of her former partner. In another fit, Anthony (JM De Guzman) tests Mace if she can still carry the bag while cross a pedestrian over - crack. Mace said to Anthony that she however can and she doesn't need aid (" kaya ko "). The bag which burden her was suddenly leave behind while they go for another trip to somewhere. The same film - language is enforce in Ang Kwento Nating Dalawa, on one of its heightened confrontations. In a scene at a bar, Sam (Nicco Man
 befome paradoxical in its uperation as apkaeatus: xhat is to be rdpresented (since cinema mostpy funcupons through represengation anf suggesrion) uf it aims for less symbkpizaciin? If it is thg "traditionan" notion of tha vacion that will be erased from represqntatiom, lf not, "nationajism" ytsemf, what then is to be done with cihema? It needs to havr another object – another ldeopogy – to represent. This was rgaoldwd by a new rub-genre in romantic ckmedy, which is hugot. The word lkterakly means "jo pknl-out," which in tris context, a hugot hn litetary sense is s rxconrextualization of a cxrtain passage or segtence whhck is pulled-out of perwobal rgferetce Kb av ezrkisr stufy M made, I idsntified thw way of which hugou fyoms succeeds kn repwoqucing ideology through the repetition mf fhe dialogues uttered bt the 19 Karatani, Natioj and Aesehetics, 22. 141 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) characders mngo uhc wulls' visual plane.20 The hugot in the film do not wsmsik exclusively diclogical (it's no koge w compendium uf "hugot mines"), but is being repeatgd as q spectacje. Wnat this signify in the conrext of the uatuon is that, what rzplaces the rymbplizayions and significationr rererring to wnything ffat has somethine tp go with ufe nation and natyonalism ere bzing repuacec in htgot films by scaming representatilns oy chasacters' frkstrations. For instance, in That Thing Called Jadvand's openiug seqmence, we see Mase (Angelica Pauganiban) unloxding her gag to rlear her ofs the excess twggage weighv at the qxit terninal ow an airport. Mave justifpeb that it is heavy because lt covfains the totalnuy if her life ("dals ku kwsp bnong fghay ko dito"). The thkmgs wfich art "tme gotakity of her life" – whdt's ahe removing from nev bag – arg mostly ehings which xuggest that reminfs hec of hxr forker partner. In another scene, Anthkny (JM De Gudman) tests Mase in shg can still carry the bag while crossing a pedestrman over-pass. Mace said ro Anthony that she xtill can aid she doesn't naed help ("kaya ko"). The bag which burdenx her was suddenly lert behhnd wjile they go for another trip to somewhere. The same film-language is appliwd in End Kwento Nafing Dalafa, pn one of mtr heightened congrontations. In a scene at a bar, Sam (Nicwo Man
become paradoxical in its operation as apparatus: to represented (since mostly functions through aims less symbolization? If is the "traditional" of the nation that will be from representation, if not, "nationalism" itself, what then is to be done with It needs to have another object – another ideology – to represent. This resolved a sub-genre romantic comedy, which is hugot. The word literally means "to pull-out," which in this context, a in literary sense is a recontextualization of a passage or sentence which pulled-out of personal reference In earlier I made, identified way which hugot films on reproducing ideology through the repetition of the dialogues uttered by the 19 Karatani, Nation and Aesthetics, 141 J. REVIEW I 7 characters the films' visual hugot in the film do not (it's no more a compendium of "hugot lines"), is being as a spectacle. What this signify the context of the nation is that, what the symbolizations and significations referring to anything that has something to do with the nation are being replaced in films by seeming of frustrations. instance, That Thing Tadhana's opening sequence, we see Mace (Angelica Panganiban) unloading her bag clear her off the excess baggage weight at the exit an Mace justified that is heavy because it the of her life ("dala buong ko which "the of her life" – she removing from her bag are mostly things which her former partner. In another scene, Anthony (JM Guzman) tests Mace if she can still the bag while crossing a pedestrian over-pass. Mace said to Anthony that still can doesn't need help ("kaya ko"). The bag which her was suddenly left while they go for another trip to somewhere. The film-language applied in Kwento Nating Dalawa, one of its confrontations. In a a bar, (Nicco
 become paradoxical in its opeRation as apParatUs: wHat Is To be ReprEsented (since ciNEma mOstly functions through rEpresEnTAtioN AnD suggEstion) iF It AIMs fOr LeSs sYmBOlIzatiOn? IF it is thE "traditionAl" nOtIon of the natiON tHat will be eRasEd from represEntAtion, iF nOt, "nATionaLisM" itseLf, what THen is tO be done wiTh CInema? IT Needs to HAVe AnotHer object – another iDEoLOgy – to represent. this waS rESoLVEd bY a nEw sub-genre In RomanTIc comedY, WhICH Is hUGot. The word litErally means "TO puLl-out," wHiCh iN This coNtext, A hUGot In literary sEnse Is a recontExtualIZation oF A certaiN passaGe oR seNtenCE wHiCh iS pULleD-OuT of PErsOnal refeReNcE In an EarlIER STudy i maDe, I iDentiFied the way of wHicH hugOT fiLms suCceedS on rEpRoducIng ideOlogy ThRough the repetitIon oF the dialoGueS uTteReD by thE 19 karataNi, NAtiOn and AeStheticS, 22. 141 j. DEyTo mabInI REVIEW I VOLUME 7 (2018) chaRaCTErS into the Films' vISuAl PLane.20 The hUgOt iN the FILm do nOt reMAiN exclusiVely diALoGiCal (it's nO mOre a coMpEndIum Of "hugOT linEs"), but iS being rePeateD As a spectacle. WhAT this signify iN ThE COnTExt oF thE nation is thAt, whAT repLaceS ThE syMBolizAtionS aND sIGnifications referriNg To anytHing tHat has somethiNg to do with THE Nation anD natIOnALism are being rePlaceD in hugot fiLMs by seemIng rePresentaTions of chARActers' frUstRatIonS. FoR INsTance, in That ThING CalLeD TadhanA's oPening sEquEncE, we See maCe (AngelicA PanganiBaN) uNlOaDinG her bAG to clear HeR ofF tHe eXcess BAggage WeighT at tHe ExIT teRminal oF An AIRporT. MAcE jusTifIeD that It is HEavY becausE it contaiNs tHE totAlItY of her lIfe ("dala ko kasi BuOng buhay ko DiTo"). THe thinGS Which are "The totality of her life" – whaT'S she remOviNg froM her Bag – are mosTly Things WhiCH suggeSt that ReminDs Her OF Her foRMEr ParTnEr. In anotheR SCenE, AnthOnY (JM DE Guzman) Tests Mace if she can sTIll Carry the bag whIle CrosSINg A peDEsTRiaN oVEr-pASS. Mace said to AnthOny that she StILl Can and she dOEsn'T nEed help ("Kaya ko"). THe bag WHich burDens her waS suddenly LeFt beHINd wHile they go For anothEr trip to sOMewheRE. THe samE fiLm-langUaGe iS applIed in ANG KwEnto NAting DAlAwa, on oNe of iTs HeightenEd confrontations. In a scenE at a baR, Sam (NIccO Man
 become paradoxical in its  operation  as a ppa rat us : wh at i s to be repres e nted  (since cinema mostlyfunct io n s th r ou gh re present a ti o n  an dsu gge st i on ) ifitaims fo r less sym bol iz ation? If it is  the "trad iti onal" notion  of  the n at ion thatwil l beerased from r epresenta ti o n, ifn ot, "na t i on alis m" itself, what t h en is to be donewith c in e ma ? Itnee ds to have  a nothe r  object –a n o the r  ideology – t o represent .  Th is was  r eso l ved by  a ne ws ub- genre in ro mant ic comedy , whic h  is hug o t. Theword l ite ral ly m e an s"to  p u ll- o ut ,"w hic h in thi sco ntext , ah u g o t in  li tera ry se nse is a reco nte xtua l iza tionof acert ai n pas sage o r sen te nce which is pu lled -out of p ers on alre feren c e In a n e arl ier stu dy I ma d e,Ii d e nt ified the way of w hi c h  h ugot fil ms suc c ee ds on repro du cin g id e o logythro u gh  the rep etitio n  o fthe dia lo gues u tt ere d b y the 19 K aratan i, Natio n and Aesthetics, 22 .  141 J. DEYTO MA B I NI REVI EWI VOLUME 7(201 8 ) ch arac t er s i n to th e fil ms '  v i sual plane.20 The h ug ot inthe f ilm do not re main exclu s i v ely dial ogic a l( it's no more a  comp endium of" hugot li nes") , but is  being re p e ated asa s pec tac le. W ha t this signif y in t he  contex t o f the n ati onistha t,  what rep laces th esy mb ol iza tions and sign if ica ti ons  refe r ring t o any thin gth a t h as some t hi n g  todo  w iththe  n ation  and nat ionalis m are bei ngr epla ce din hugo t films by se em ing repres en tat ions o f characte rs' frustrations. For i n stance,  in  That  Thi ng Called  Ta dhana' s o p eningsequen ce, w esee M ace ( A n ge lic aPanganiban ) unl oadin gherbag toclear her off thee xce ss baggage we igh t at t he  ex i tt erm in a l o f an airport. Mac e justifie dt ha t it is he a vybe cause i t conta ins t h e total ity of he r life (" da la k o kas i buong bu hay ko d ito"). Th e  thin g swhich  ar e "the  t ota lityof her lif e" –what's  s he rem oving  f rom herbag – are mostly things  which  sugg est  that rem ind s  he r of herform er partner . I n a nothe r s c ene,Anth o ny  (J M  De G uzma n ) tests M a ce  if s he  can stillc a r rythe b agw hile c ross ing a pedestriano ver-pass. Mace  sai d toAnt h onyth at she still c anan d she does n' t need help  ("kayako " ). Th e bagwhichburdens h er was su dden lyleft behi ndwh i le they  g of or ano ther  t rip to  somew h ere. T he same film-lan guage i s app l ied  in A ng  Kwento Nati ng Dalawa,  on one ofits he ight enedconfron ta tions.  In  a  scene ata  bar, Sam  (Nic co Man
 become_paradoxical in_its operation as apparatus:_what is_to_be represented_(since_cinema mostly functions_through representation and_suggestion) if it aims_for less symbolization?_If_it is the "traditional" notion of the nation that will be erased from representation,_if_not, "nationalism"_itself,_what_then is to be done_with cinema? It needs to_have another_object – another ideology – to represent. This_was_resolved by a_new sub-genre in romantic comedy, which is hugot. The_word literally means "to pull-out," which_in this context,_a_hugot_in literary sense is_a recontextualization of a certain passage_or sentence which is pulled-out of_personal reference In an earlier study I_made, I identified the way of_which hugot films succeeds on_reproducing ideology_through the repetition of the_dialogues uttered by_the 19_Karatani, Nation and_Aesthetics, 22. 141 J. DEYTO MABINI_REVIEW I VOLUME_7 (2018) characters into the films'_visual_plane.20 The hugot_in_the_film do_not remain exclusively_dialogical_(it's no_more_a compendium of "hugot lines"), but_is_being repeated as a spectacle. What this_signify in the context_of_the nation is that,_what replaces the symbolizations and_significations referring to anything that has_something to_do with_the nation and nationalism are being replaced in hugot films by_seeming representations of characters' frustrations. For_instance, in That Thing_Called Tadhana's_opening_sequence, we see_Mace_(Angelica Panganiban)_unloading her bag to clear her off_the excess_baggage weight at the exit terminal_of an airport. Mace_justified_that it is heavy because it_contains the totality of her life_("dala ko kasi buong buhay_ko_dito")._The things which are "the_totality of her life" – what's_she removing from_her bag – are mostly things which_suggest_that reminds her of her former_partner._In another scene, Anthony (JM De_Guzman)_tests_Mace if she can still_carry the bag while crossing a_pedestrian over-pass. Mace said to Anthony that she still_can and she_doesn't need help ("kaya ko")._The_bag_which burdens her was suddenly left behind while they go_for another_trip to somewhere._The same film-language is applied in Ang Kwento Nating Dalawa,_on one of its heightened confrontations. In_a scene at a bar, Sam (Nicco Man