![]() ![]() This revised neocolonial ideology is expressed through the racialized and gendered images of Filipino characters and their interaction with U.S. What the perpetuation of this ideology suggests is the postwar neocolonial relationship between the two nations that U.S. colonial rule in the Phillapines and dates back to the turn of the century. A careful reading of these films, which is the subject of this article, reveals the stamina of this colonial ideology (colonial uplift, tutelage, and nation-building) that legitimized U.S. ![]() ![]() Instead, these films reaffirm, and even celebrate, the unequal colonial power relationship that marked the history of U.S. Although these films immediately preceded Philippines independence in 1946, they do not position the Philippines as a soon-to-be autonomous nation. Between 19 several Hollywood studios produced significant films set in the war-torn Philippines, including Bataan (MGM, 1943), So Proudly We Hail (Paramount, 1943),and Back to Bataan (RKO,1943). ![]()
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