Presents the first comprehensive edited collection of commissioned essays by leading scholars that examine the diverse forms and functions of the gothic across Philippine literature, cinema, television, and comics, reframing the genre through the lens of colonial histories, regional cultures, and globalization
Archipelagothic: The Gothic in Philippine Culture is a volume that brings together essays that examine the place of the gothic in Philippine literary and visual culture, which includes Philippine literature in English, Tagalog literature, regional literature, cinema, TV, and comics and graphic novels. These essays collectively suggest that the Philippines’s longue durée of multiple colonialisms, archipelagic configuration, uneven effects and experiences of globalization, and various regional cultures have variously and uniquely transformed the idea of the gothic. The volume thus also serves as diverse theoretical elaborations of the concept of archipelagothic, designating a term that is attentive to the gothic multiplicity in Philippine culture as well as an approach to reading gothic texts that emphasize relationality, decoloniality, and multiplicity.
In the collection, Jeremy De Chavez’s introductory essay offers a theoretical elaboration of the archipelagothic. Thomas Leonard Shaw’s essay examines the gothic in Philippine Anglophone writing by looking at three thematic categories—1) the tropical gothic, 2) the urban gothic and 3) the domestic gothic—across a selection of texts spanning from the 1940s to the more contemporary 2010s. Edgar Calabia Samar’s essay examines contemporary Tagalog literature’s engagement with the gothic. Genevieve Asenjo’s essay examines literary texts from the Visayan region of the Philippines that perform the archipelagic tropes of the Philippine gothic, which she argues is rooted in its enduring shamanistic tradition and verbal arts of epic chanting and storytelling.
Louie Jon Sanchez’s essay examines how in the past 70 years of Philippine TV broadcasting, gothic tendencies may be observed in two popular televisual formats: the documentary gothic in episodes of news and current affairs formats and the melodramatic gothic in representational drama formats such as the occasional drama anthology/movies for TV and the soap opera, locally called the “teleserye” (television series). Rose Arong examines the formal elements of the komiks and graphic novel genre as a way to discuss the thematic variations of the gothic, which are products of the artistic negotiation of foreign influence and local adaptation. The volume includes a helpful glossary of terms prepared by Michael Justine Sales and Nikka Joy Abenoja.
