Fantasy Production: Sexual Economies and Other Philippine Consequences for the New World Order

Fantasy Production: Sexual Economies and Other Philippine Consequences for the New World Order

Fantasy Production: Sexual Economies and Other Philippine Consequences for the New World Order

Fantasy Production: Sexual Economies and Other Philippine Consequences for the New World Order

Synopsis

Taking an innovative, postcolonial, feminist perspective on transformations in the Philippine nation in the context of globalization, Fantasy-Production provides a theoretical framework for understanding the nationalist and postcolonial capitalist logics shaping the actions of the Philippines as a nation-state.

Excerpt

In the face of the apparently insurmountable challenges of social
reality, that in a previous stage drove figures like Romaine Rolland
and Antonio Gramsci to speak about the skepticism of intelligence,
to which they opposed the optimism of willpower, let us also oppose
to it the confidence in imagination, that essentially poetic device.

— Roberto Retamar

The project then is to claim for us, the once-colonized, our freedom
of imagination.

— Partha Chatterjee

Of what consequence are Philippine dreams? Shortly after the deposing of the Philippine dictator Ferdinand Marcos and his family in 1986, a home videotape of a carousing party held on their yacht made the rounds of the same televisions around the world that had just aired the four-day carnival of their fall. 'We are the World,' sang the Marcoses with the gusto and full rhapsodic feeling worthy of this glorious charttopping World Aid anthem. That video, along with endlessly replayed footage of and jokes about Imelda Marcos's enormous shoe collection, encapsulated for the international audience the ridiculously pompous yet tawdry dreams of the rulers of this third world nation. In this picture of the Marcoses drunk with power, pursuing their delusions of grandeur, the Philippines appears to be a country dominated by misplaced dreams. It is a place of ironic contrasts and tragic contradictions, where politics is a star-studded spectacle set amid the . . .

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