Lav Diaz, Revolution and Messianic Time
Krzysztof Loska
krzysztof.loska@uj.edu.plJagiellonian University (Poland)
https://orcid.org/0000-0003-4078-798X
Abstract
Assuming that the revolution is an apocalyptic event, a secular variant of religious messianism (Leszek Kołakowski), the author of the article looks at the image of anti-colonial rebellion in Lav Diaz’s Lullaby to the Sorrowful Mystery (Hele Sa Hiwagang Hapis, 2016). The starting point is the hypothesis of the links between messianism and radical social movements in subaltern countries (Vittorio Lanternari, Eric J. Hobsbawm) and the concept of history as presented by Reynald C. Ileto, who, in his book Pasyon and Revolution, emphasized the need for considering materials omitted in the official narrative, such as poems, songs, novels, letters, and folk tales because they allow us to gain a better comprehension of political events. The central operational concept in the analysis of Diaz’s film is the category of ‘messianic’ or split time, which breaks linearity and causality by assuming the coexistence of pasts that are not necessarily true (Gilles Deleuze) and making it impossible to distinguish what is real from what is imagined.
Keywords:
revolution, messianic time, colonialism, fabulation, PhilippinesReferences
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Authors
Krzysztof Loskakrzysztof.loska@uj.edu.pl
Jagiellonian University Poland
https://orcid.org/0000-0003-4078-798X
Professor of Humanities in the Institute of Audiovisual Arts, Jagiellonian University in Kraków. He is the vice-president of the Polish Society for Film and Media Studies and member of Editorial Advisory Board of the bi-monthly Ekrany. He has authored 150 papers and dissertations on media, popular culture, film history and Japanese cinema, published in various journals (Kwartalnik Filmowy, Studia Filmoznawcze, Przegląd Kulturoznawczy, Ekrany, Kultura Współczesna, Ethos) and edited volumes. He has published twelve books (in Polish), e.g. Dziedzictwo McLuhana – między nowoczesnością a ponowoczesnością [McLuhan’s Legacy: Between Modernity and Postmodernity] (2001), Poetyka filmu japońskiego [Poetics of Japanese Cinema] (2009), Kenji Mizoguchi i wyobraźnia melodramatyczna [Kenji Mizoguchi and the Melodramatic Imagination] (2012), Nowy film japoński [New Japanese Cinema] (2013), Mistrzowie kina japońskiego [Masters of Japanese Film] (2015) and Postkolonialna Europa. Etnoobrazy współczesnego kina [Postcolonial Europe: Ethnoscapes of Contemporary Cinema] (2016), W cieniu Imperium Wschodzącego Słońca. Japoński projekt kolonialny i kultura filmowa w Azji Wschodniej [In the Shadow of the Empire of the Rising Sun: Japanese Colonial Project and Film Culture in East Asia] (2022).
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