Janelle Rowsell

Ghosts, Ghouls, and Girls in White: Colonial Allegories of Filipino Horror

Introduction

Ghosts, ghouls, and girls in white: colonial allegories of filipino horror. Explore Filipino horror films through a colonial lens. Examine how folk-Catholicism & Spanish rule shaped gender roles, machismo, and Marian femininity in haunting narratives.

Abstract

For three hundred years, the modern nation state of the Philippines was under Spanish colonial rule, bringing with it the introduction of Catholicism, which would shape the ways in which Filipinos embody their relationships with the world around them. Yet, despite the introduction of Catholicism, Filipinos did not abandon pre-colonial spirituality, instead merging both the pre-colonial and the colonial to create a unique tradition known as Filipino folk-Catholicism. While the adoption of folk-Catholicism has spread across most of the country, its violent history continues to be explored in the Filipino horror genre, which itself merges both the local and the foreign to create a uniquely Filipino genre of horror. By looking at the hauntings of ghosts and spirits in Filipino horror films, I seek to examine the ways in which folk-Catholicism has impacted the embodiment of gender roles in Filipino communities, notably through the rise of machismo masculinity and Marian femininity. 

Review

This paper proposes an intriguing and timely examination of Filipino horror as a site for understanding colonial legacies and their impact on contemporary cultural identity. The author intends to explore the unique syncretism of Filipino folk-Catholicism, tracing its roots in Spanish colonial rule and its continued resonance in modern spiritual and social practices. The core argument, that Filipino horror films offer a lens through which to analyze the 'violent history' of this cultural amalgamation and its specific shaping of gender roles, presents a compelling and original research agenda with significant potential for contributing to postcolonial studies, film theory, and cultural anthropology. A particular strength of this proposed work lies in its ambitious interdisciplinary approach, drawing connections between historical religious imposition, enduring pre-colonial spiritual beliefs, and popular cultural expression. The focus on "folk-Catholicism" as a unique hybrid tradition is well-articulated, and the notion that the horror genre actively engages with its 'violent history' is a fascinating premise. Furthermore, the abstract's explicit aim to link these spiritual and historical currents to the "embodiment of gender roles," specifically "machismo masculinity and Marian femininity," through the spectral figures in horror films, promises a nuanced and socially relevant analysis. This intersection of the supernatural, the historical, and the gendered offers a rich vein for critical inquiry. While the overall framework is highly promising, the abstract raises several questions that the full paper would need to address with rigorous detail to fully realize its potential. Firstly, the methodology for connecting specific 'hauntings of ghosts and spirits' directly to the 'embodiment of gender roles' requires more elaboration. How precisely do these cinematic apparitions function as allegories for or manifestations of machismo and Marian femininity? Secondly, a deeper engagement with the 'violent history' mentioned would strengthen the argument, clarifying how this violence specifically informs the gender dynamics explored. Finally, while the scope is broad, specifying the particular subgenres or examples of Filipino horror films to be analyzed, and perhaps outlining the theoretical tools for examining 'embodiment,' would provide a clearer roadmap for the intended analysis. Addressing these points will significantly enhance the paper's analytical depth and impact.

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