Hybridity of Images and Music: Decoding the Vertigo

and Aesthetics of Postmodernism in Gloc-9’s

Collaborative Video, Bakit Hindi (Why Not)

Media Criticism: Approaches and Practices

COM531M – Mr. Elvin Valerio

Master of Arts in Communication: Applied Media Studies

College of Liberal Arts, DLSU

Submitted by:

Sofia Mae D. Costales

11 December 2017
Hybridity of Images and Music: Decoding the Vertigo and Aesthetics of Postmodernism in
Gloc-9’s Collaborative Music Video, Bakit Hindi (Why Not)
Sofia Costales

“Inside every Filipino lies fragments of the past.” This is the main inspiration for the

collage-themed music video Bakit Hindi (Why Not) starring the famous Awit Award-winning

Filipino rap artist Gloc-9 in collaboration with renowned Filipino-American talent and singer

Billy Crawford. Garnering almost around 3 million views on Universal Records Philippines’

official YouTube channel, this conceptual piece of art is a depiction of the “jumbled-ness” and

confusion of our own knowledge in Philippine history. Developed by creative director and video

editor Jaime Pacena II of BMLab Inc., together with the director of photography Edrie Myrick

Beltran Ocampo and art director Jocelyn Ramos, the pre-composited backdrop and landscape in

Bakit Hindi illustrate the “internal organs” of a human being by using rotoscoped photos of

Philippine cultural symbols and heritage sites. Through the lens of postmodernism, which

ceaselessly reshuffle the fragments of texts and the building blocks of older cultural and social

production, the visual concept is set side by side with Gloc-9’s lyrical exposure of the

contradictions found within the Philippine system where our complacency and conditions are

possibly disturbed (see: Jameson 96; Reyes 82).

Postmodernism refers to a particular style of culture which reflects something of an

epochal change. This essay attempts to draw serious, in-depth interpretations of the Bakit Hindi

music video which points toward postmodern specularity as an emergence of new narrative

styles in film and music. The defining features of the postmodern culture are likened to

“illnesses” such as vertigo, or the historical amnesia, which refers to the disappearance of a

sense of history and the capacity to retain one’s own past, the loss of modern narration, a form of

!1
nostalgic style in film as distinct from historical movies, and the rapid relegation to the past of

recent historical experiences; and schizophrenia, or the manifestation of the collapsed sense of

temporality and problems in spatial dimension (Helvacioglu 4). Bakit Hindi was created in the

year 2012 when a series of positive and negative news made an impact on Filipino lives – the

report on the deadliest New Year Celebration, the dispute on the Scarborough Shoal alerting the

Philippine Navy, major earthquakes that struck Negros and Cebu causing damage, Jessica

Sanchez placed runner-up on American Idol Season 11, typhoons Saola and Haikui causing

widespread flooding which affected 2.4 million people with 362,000 sheltered in evacuation

centers, Boracay named the world’s best island tourist spot, #AMALAYER video incident went

viral, typhoon Pablo hit Southern Philippines, former President Aquino signed the controversial

RH bill – all fell in the same year when the role of social media attained its peak and became a

necessary tool for real time events and situations (see: TheSummitExpress).

With socially and historically sentient music that insists on looking at a nation’s demands

for fundamental change and improvement, Gloc-9, born Aristotle Pollisco, courageously infuses

his own perspectives which contemplate at current issues in society and send messages of self-

consciousness and realization to all Filipinos. Through a track-list of fast-paced, influential rap

“poetry”, Aristotle inspires his listeners via his tongue-twisting lyrics that often deal with class

struggle and societal conflict; thus makes him one of the most diverse and versatile emcees to

ever hold a mic having had his hand in everything from gritty underground tracks, to horror-core

tracks, to love songs, to even socio-political conscious tracks (see: SoulSonicTV). In his 6th

overall album MKNM: Mga Kwento ng Makata, or “stories from poets”, is composed of his

fifteen songs released with Universal Records back in August 2012. The album features his

!2
affiliated works with fellow Filipino talents such as Bamboo, Jay Durias, Billy Crawford, and

Chito Miranda. Among his most notable pieces are Upuan (2008) ft. Jeazel Grutas of Zelle

(showing a symbolic representation of inequality through a “chair” that renders privilege),

Walang Natira (2011) ft. Sheng Belmonte (displaying the situation of overseas Filipino workers

with the “American Dream” and the desire to become rich), Sirena (2012) ft. Ebe Dancel (telling

a gender-sensitive story of the mermaid-like life of a gay individual), and the multi-awarded

Magda (2013) ft. Rico Blanco and actress Jennylyn Mercado (a modern version of Freddie

Aguilar’s “Magdalena” revealing an unforgiving inside story of a prostitute).

Evidently, popular cultural texts are commonly produced using the medium of poetry,

music, and video with the intentions of creating social, political, and economic arousal and gain

discourse over a period of time. Applying Fredric Jameson’s metaphrase to postmodernism as

“the cultural logic of late capitalism”, film today has obviously become postmodernist in use of a

more contemporary language, being the ‘cultural dominant’ of a new social and economic

conjuncture, emphasizing that video is a temporal art; therefore it ceaselessly reshuffles the

fragments of preexistent texts [and] the building blocks of older cultural and social production…

such logic of postmodernism, in general, finds one of its strongest and most original, authentic

forms in the new art of experimental video (Jameson 1991: 69–96). This essay is a dialectal

effort to rethink the presence of time in history through the images and lyrics rendered in Bakit

Hindi as we currently reside in a world so manifested with postmodern space and technology that

insofar distanced and estranged us with present-day issues in this late capitalist, postindustrial

society. Capitalism, at its core, have imposed individualism, private enterprise, and free market –

yet nothing is ever in true essence, “free”. As the chorus of Bakit Hindi goes, wag mangarap ng

!3
basta simple / At umasa lagi sa libre / Bakit hindi? Bakit hindi? / Yan ang sabihin sa sarili, we

are reminded to question the objects which make up our social “freedom” and reality and urge

ourselves for cultural commentary, interpretation, decipherment, and diagnosis.

I. An amalgam of fragments

“Bakit gumigising, at bakit dumidilat?”

The music video opens with a pre-composited backdrop of a brightly-saturated Rizal Park

– simply known as Luneta – with two winged birds carrying a white cloth printed with the music

details in red block fonts. As part of the opening billboard, a countdown starts with a black

number five magnet, then shifts to a rectangular speed limit sign with a number four, a circular

03km/h signage, a yellow wooden number two, a street sign with the number one, and finally, a

zero kilometer figure. Individually studied, these pictures are cut-outs from different ideas in

which the viewer can find a perplexing experimental treatment. From that point, a 30-second

instrumental begins, and an abstract image of three winged-stars make its entrance, hovering

over a reversed canvas of the Philippine flag: a deep red foggy mist above, dark blue ocean

waters, and a golden human iris as the sun. The human iris then morphs into a Philippine eagle,

which is said to be the national bird, against a background of The Chocolate Hills of Bohol, one

of the most popular landmarks in the country. The next frame showcases a more complicated

image of a traditional vinta, branches with window-like structures, and cut-outs of Chinese

leaders gazing at the horizon. Repeatedly, in each of the scenes seem to include the three flying

stars, symbolizing the three main regions of Luzon, Visayas, and Mindanao. A folded paper plane

created from newspaper sweeps the screen and transitions to the shot of a guitarist and a dancing

!4
lady in blue. The backdrop features a pan-shot of coffee-colored monuments, pillars, religious

relics, old buildings, and even a placement of the Bangui windmills, a Boracay sandcastle, a few

Spanish architectures, a Nipa hut, and the Malacañan Palace rooftop, all juxtaposed with two

Billy Crawfords (one singing, one dancing) and musicians from Gloc-9’s band.

Camera movements and on-screen details are crucial to any filmmaker’s image sequence

treatments, and this involves an interplay of themes: history, memory, and time. Observing from

the overall structure of Bakit Hindi, the music video acquires a surrealist-psychedelic approach

that explores the said three key themes. It can be described using Derrida’s presumption of a

post-historical time, as it partitions itself off as different from what is past, establishing a

threshold, a gap, or an end which has become a beginning and refers to it as self-consciously

avant-garde, when the new historical time is rather the time of periods and moments, epochs and

centuries, then and now, and highlighting the full range of possibilities and potentialities in the

medium of experimental video (Silverman 149–150; Jameson 71).

Some of the work’s eye-catching elements are statuesque images of heroes, leaders, and

colonizers, a colorful vinta boat, a carabao and a crocodile with sunglasses, some hardbound

books with butterfly wings, famous churches and places such as the Intramuros chapel door, the

Paoay church exterior and the Patapat Viaduct, an unrelated spinal column right smack in the

middle, a portrait of our National Hero Dr. Jose Rizal and his “required” books to read in high

school, a big ballot box, and some green leaves (mainly for transition purposes). Unexpectedly,

these images are framed and animated altogether while Gloc-9 delivers his lines in different

rhythmic patterns. The video also shows the construction boom of the post-Marcos era (through

newspaper clippings that regarded Martial Law) and lining through main thoroughfares of

!5
metropolitan Manila are immense commercial complexes that emerged as the most familiar

landmarks and monuments of urban Philippine society today (Hedman & Sidel 118) which only

meant that the recognition of cultural landmarks can possibly apply to any important collective

memory. The interwoven common denominator of memory and time is a “utopia” where

historical development appears as an endless stream of new and special events (134).

Deconstruction, or to ‘deconstruct’, is critical in reading texts with eyes sharply trained

for contradictions, blind-spots, or moments of hitherto unlooked-for rhetorical complication

(Norris 135). To further ingest the music video, Bakit Hindi established 25 composited frames

that form into a desaturated montage of distorted and mixed-up historical events that bring a

sense of timelessness, an idea contrasting to the song’s underlying message of promoting reality

awareness and disturbing human understanding. Cut-out combinations of two separate, dissimilar

objects (a crocodile with sunglasses, stars with wings, a tarsier with specs, books with butterfly

wings, a brain connected to a globe) genuinely trouble the spectator’s point of view. This panics

a spectator’s set of standard beliefs which eventually falls into the crisis of modernity, or

experienced as postmodern vertigo. The concept of vertigo here (further explained in the next

chapter) is an enriched visual hybrid – a ‘hybridity of images’ so to speak – to which a

combination of still photos, moving pictures, sound, digital media, and found objects all intersect

to create new distinct forms beyond what traditional artists have ever imagined or experienced

(Rotilie). It is through the lens of postmodernism where viewers are not only limited to just

plainly absorb the text or the language provided to them but to draw different conclusions and

belief systems that determine their purpose. Postmodern culture replicates or reproduces –

reinforces – the logic of consumer capitalism (Jameson 1998:20) through the embrace of

!6
commercial “popular” art alongside the rejection of non-commercial “high” art. Bakit Hindi

exposed familiar classic Baroque and Spanish colonial architecture, merged with four present-

day musicians in action, all moving the same direction, in sync with the three golden stars

floating in between the spaces. The nostalgic repetitiveness of the stars in the scenes and the

cluster of architectural forms constitute the “mass-productivity” and commodification of culture,

taking note that society has become overly obsessed with the concept of imitation or simulacra.

Images of Philippine transportation such as the MRT/LRT and the metallic jeepney as well as

traffic lights portray what Jameson called the “glimpses of postmodern urban

realities” (McGuigan 81). It is this ‘sentimentality’ that caused postmodern culture’s loss of

senses and meanings for the past due to the romanticization of artistic representations of history,

and because history is constantly being reconstructed, the media economy is ever-changing and

emergent to the logic that is re-articulated into new cultural formations (see: Laughey 156;

Grossberg 177–8).

Jameson mentions the disappearing act of constitutive differentiation (distinction),

especially in music where classical and popular texts begin to unify once again. On the other

hand, Heidegger argues that our dominant world-models of technology, institutional, public and

education practices, including the arts and education, have been founded and formed on such

causal demands of work as labor – a progressive means-end relationship (Grierson 55). In a

deeply industrialized and technologically-literate country like the Philippines, we have been

“enframed”, and this is exactly what Gloc-9 points out to us in Bakit Hindi. From Grierson’s

“modernity as a sickness” notion that accepts Jameson’s late capitalist logic, I highlight these:

what is this “work” of living, of technology, of education, of public discourse, that we perform

!7
and by which we are shaped? Is modern-age capitalism a period which interprets how we view

culture and history today as estranged and displaced?

II. Visual and textual vertigo

“Sa kahirapan na pumupukol, isip mo na buhol-buhol…”

From the creative direction of Director J Pacena, Bakit Hindi was optically arranged not

to interpret the song word for word, but to pattern it straight from the old school cut-out collage

process. It simply “generates style over substance”, a key feature of postmodernism. The video

took most of its influence from the late Michael Jackson’s visually stunning short film, Leave

Me Alone (2009). The said “film” commented on the “media frenzy” culture which often

surrounded the King of Pop at the height of his career. Similarly, anyone who is a spectator of

Gloc-9’s Bakit Hindi piece can instantly recognize its mixed-media creative exploration as

something leaning towards chaos and disorder; an “illness” if you will.

Quoted in Heidegger and the Aesthetics of Living, there is a potential for the “incipient

consummation” as the working through of truth in the “presencing” of the work of art, and a

deep underlying concern with a “sickness” of the modern world (Grierson 58–9). The ‘mixed-

ness’ of cultural symbols within the music video saturated the remaining voids and empty spaces

in an urbanized setting. The postmodern trend in the visual arts opts for its playfulness rather

than the purpose of the text which relies on deconstructing a surface image or a ‘certain flatness’.

It is from the visual, interpretive and historical depth of a text that provides continuity and

discontinuity. According to Jameson, postmodern tendencies indicate a collapsed sense of

history, temporality, and space. In understanding most of Gloc-9’s music videos, in fact, the

!8
“main antagonists” in his texts are usually the outcomes of modernist traditions that somehow

breaks a challenge and serves as an “alarm” in a society that has basically become “lost” in time

and space. Visual aesthetics of the music video also depict the “inside” contents found within the

human body, which are usually the soul, intestines, innards, and the like. However, Bakit Hindi

had a fresh approach and depicted “the interior being” through the symbolism of Philippine

figures and events, as you will notice that the water from the underground river is actually made

of blood and this features Gloc-9 riding a tiny boat. Noted in The Postmodern Syndrome (1995)

is the “repetitive-notion syndrome” wherein academics and intellectuals (the postmodern types)

are destined to repeatedly apply certain key ideas to every phenomenon they encounter (Keefer)

which can also be applicable to works of art (eg. paintings, music, films, etc). Here the notion of

a repeated “disease” can be compared to perpetually “finding a willing host in the human spirit”,

similar to recurrent, spontaneous “vertigo” attacks which trigger from certain “fragmented”

illusions of movement. To relate this with the Bakit Hindi video, mixed snippets of historical

elements are scattered and positioned in the most obscure ways possible.

Music video has always been a self-reflexive and frequently remediate material with

respect to the organized sounds of music or voice that can lend themselves to countless new

combinations (Vernallis 227–8; MacCann 39). The two artists Billy Crawford and Gloc-9 are

seen travelling from one point to another and can be seen either riding a bangka, gliding on a

plane, or touring in a kalesa. Within the narrative expectations that treat today’s videos as

experiments with hybrid forms or with interactive elements, music videos “remediate materials

in order to work like poetry” where “images serve the same function as words in

poems” (Vernallis 228) which were graphically illustrated in Bakit Hindi. Gloc-9’s striking

!9
poetry is argued to politically trouble the crisis of postmodernism in line with Pacena’s

metaphoric representation of hypothetically meaningless images strung together, indicating that

these impressions are akin to a kaleidoscopic episode of vertigo projected inside a human eye.

Postmodern vertigo is a state of disorientation that results from reading postmodernist

texts, often as a complicated representation of “the order of things” where dazed and distracted

characters (Gloc-9, Billy Crawford, and the dancing lady in a blue dress) wander through

“different universes and realms of hyperreality by offering some delineation of our identity and

location, compelling a Marxist theory that agrees on the shift in the cultural realm and the

emergence of a new type of economic order, late capitalism, characterized by consumerism and

technological advances” (Vaughan 118; Helvacioglu 10–11). The narrative flow of the text

illustrates the economic and laborious struggles that generally apply to every Filipino. Billy

looks through a telescope and Gloc-9 appears: Dahil lang ba ang mga bagay na nakaharang sa /

‘yong daraanang hagdanang / Mataas, madulas kahit na matumba / Ay hindi mo pababayaan at

tuluyang mabahiran, alinalangan / Bawat hakbang, tawirin mo man dagat, / Sabayan hanging

habagat / Baga’t apoy / Bawat patak ng dugo’y / Di mawawalan ng saysay ang mga boses at

panaghoy / Dahil ang mga araw na dumarating ang nagsisilbing pag-asa / Sa kanila na sa pait

ng buhay nawalan na ng panlasa / Walang trabaho, walang makain, bubungan na tinangay ng

hangin / Humahaba ang listahan sa tindahan at sakitin pa / Ang anak mong sanggol, kailangang

ipagtanggol / Sa kahirapan na pumupukol, isip mo na buhol-buhol – the images used in the

music video were completely void of any direct or obvious parallelism to its literal, lyrical

composition. It did not show images of poverty. Instead, clusters of cut-out layers from different

!10
contexts were exhibited through the juxtaposition of unrelated images (style), rendering a

finished look of the Philippine landscape that looked like a multi-cultural dump site (substance).

Where Film Meets Philosophy reflects on Eisenstein’s approach to cinema as an art where

“conflict [is] realized through various levels of montage, creates juxtapositions that transcend the

mere fragments of reality… providing a more profound meaning than is offered by the content of

a single image as if presenting a thought or feeling”, and also consequently view Bazin’s idea of

cinema as “a stylized manipulation of reality that should be avoided as it distorts the world’s

original meaningfulness” (Vaughan 47). This “distortion of images” from the public’s mind is the

cause to what Jameson referred to as a “high-tech paranoia” rooting from the technology of

contemporary society “that our faulty representations of [some] immense communicational and

computer network are themselves but a distorted figuration” (Jameson 1991: 37). It is

postmodernism’s main effect to create a disjunction between the capacities of the individual

human body to locate itself; an emphasis on decentering images and transgressing what is real

and what is not. For postmodernism, anything goes, including the voices of disintegration,

disillusion, chaos, and the collapse of reason.

III. Contrast concepts: education and power

Postmodern images, as exemplified by television, have a paradoxical double meaning as

they are the best clues to the histories of our era at the same time it shuts out all questions that

regard meaning-making (Chernus). Amidst the lyrical and visual composition of Bakit Hindi lies

a contrast-concept of urban Philippine society, and we can refer to three most important “codes”

– education, hierarchy, and power. Through the manipulated images of the past and present, we

!11
witness what Jameson stressed out as the “global spiralling of multinational capitalism” that

paves the way for cultural sensibility. The problem is that of the sociology of identity and space

through the “self-understanding and spatial awareness in a culturally fluid and economically all-

consuming system” (McGuigan 79) that triggers cognitive mapping and social confusion.

Firstly, we must accept that everything has to do with education since the very basic

foundation starts at home and at school. We see Gloc-9 wandering in a boat and Billy’s lyrics

speak to the youth, repeating the melodic phrases “pagbutihan mo ng maigi” (usually terms

coming from parents as motivation for the child to study hard and be obedient) by cultivating and

shedding light on the significance of postmodernism that can be comprehended as “signifying a

moment in history, the moment at which Marx’s prediction that capitalism transforms

everything” (McGuigan 74). In postmodern culture, Jameson contends that there is a “waning

effect” which denies our grasp for compassion and human emotion. This proves that anywhere in

the age of image, information, and identity, education is the key which society can use to fully be

able to participate with each other to achieve harmony and peace. However, education is also

partly to blame as indoctrination “makes students passive aggressive receivers of information”

and sets participants “incapable of independent thought” (Jennings 300). Why do we trouble

systems of education and government only within the academe, and yet find it unruly to question

authority outside its walls? These are the hidden agendas in the chorus of Bakit Hindi which

depicts Gloc-9’s lyrical composition, with education and power as contrasting concepts of urban

Philippine society. Instead of the “true to itself” translation of the song, the endpoint is still “man

who becomes the center measure of all beings” (Habermas 133) wherein integral values are

commonly found within oneself and in society. A small boy wearing a Barong Tagalog closes the

!12
music video, zooming out from his eyes in with remembrance to Rizal’s words, “ang kabataan

ay pag-asa ng bayan” (the children are the hope of the future).

Secondly, cultural sensibility is one of Jameson’s principal themes, and in particular, he

reworks the Marxist proposition that social experience is, in the end, a matter of multiple

economic and historical determinations. He asks, what are the cultural consequences of

postmodernity, for the experience of subjectivity? Among the characteristics of this

postmodernization of subjectivity, in Jameson’s view, is the collapse of any active sense of

historical memory. It is one of the functions of history to give ‘narrative shape’ to the social

experience, to link past, present, and future. Yet with the warning of history, narrative, and

memory, the psychic experience of identity becomes disconnected and empty – locked on the

images, codes, and messages of digital media and the information superhighway (Elliot and

Lemert 347). As a distinction between the digital and its non-digital counterpart is becoming

more and more difficult to sustain, there is widespread consensus that the online and the offline

are intermingled in intricate relations. (Lindgren 1–2). All aspects of media (take note: media =

power) have now intersected with one another that it has become more difficult to distinguish

and describe its inner processes. Bakit Hindi is present with a numerous interplay with

‘modernity’ and ‘postmodernity’, ‘modernism’, ‘postmodernism’, and ‘avant-garde’ – dubbed as

“categories of historical totalization in the medium of cultural experience” (Osborne, ix) and

branches out historical consciousness constructed at the level of the apprehension of history.

!13
IV. Late capitalism: a lost sense of history and finding our way back

Cultural works come to us as forgotten codes of signs, as symptoms of diseases, and as

fragments of a whole where we have long lost the organs to see. Bakit Hindi urges us to continue

to compare the world inside and outside, in existence and in history; and to continue to pass

judgement on the abstract quality of life in the present and to keep alive the idea of a concrete

future. Because postmodernity empowers the masses as a process of perpetual transcoding (see:

Norris 77-8), people are able to enrich their vocabulary of innovation and individual purpose.

Fredric Jameson’s interpretation of postmodernism together with Gloc-9’s force of a ‘social

awakening’ influence us to not just absorb the dictated cultural texts offered in society, but to

perhaps question and analyze them as carefully as possible in order to acknowledge the true

nature of society. Bakit Hindi questions our present postmodern “ideals”, and allows us a

contradicting range to be socially active (the “educated” powerful) or passive (the “non-

educated” ignorant), which are effects of focusing too much on the politically correct thinking

that is initially learned straight from the books and progressively taught in domineering

institutions. The logic of late capitalism communicates that with constant production and

reproduction of things, we are being dislodged from its true meaning and purpose.

Essentially, postmodernism is more about challenging certain structures rather than being

something in and of itself. To go out and look at postmodern architecture, literature, music, and

art is to look for complicated links to get a better understanding of traditional and contemporary

puzzles of reality together, just as how the postmodern art movement compelled society to

“question things why things are the way they are”. Bakit Hindi is an expressive amalgamation of

music, text, movement, and video that socially and politically enables the youth to find their

!14
freedom and place to express. With the aid of technological convergence, we are able to think

more intelligently, decide about change, and be aware of this generation’s docile, postmodern

environment.

Now, ask yourself. Why, and why not?

List of Works Cited:

Chernus, Ira. “Fredric Jameson’s Interpretation of Postmodernism.” Ira Chernus: Jameson and Postmodernism,
spot.colorado.edu/~chernus/NewspaperColumns/LongerEssays/JamesonPostmodernism.htm. 1992. Web.
Accessed 8 Dec. 2017.
Elliot, Anthony, and Charles Lemert. “Jameson: Postmodernity as global capitalist transformations.” Introduction to
Contemporary Social Theory. Routledge, 2014. 344–8.
“Gloc-9 Interview.” SoulSonicTV. http://ssonictv.blogspot.com/2009/07/gloc-9-interview.html. 24 Jul. 2009. Web.
Accessed 11 Dec. 2017.
Grierson, Elizabeth M. "Heeding Heidegger's Way: Questions of the Work of Art." Heidegger and the Aesthetics of Living,
Edited by Vrasidas Karalis. Cambridge Scholars Publishing, 2008. 45–64.
Grossberg, Lawrence. “The Media Economy of Rock Culture: Cinema, Postmodernity and Authenticity.” Sound and Vision.
Routledge, London.1993. 159–179.
Habermas, Jürgen. The Philosophical Discourse of Modernity: Twelve Lectures, trans. F. Lawrence. Polity Press, 1987.
Hedman, Eva-Lotta, and Sidel, John. "Malling Manila: Images of a city, fragments of a century." Philippine Politics and Society
in the Twentieth Century. Routledge, 2000. 118–39.
Helvacioglu, Banu. “The Thrills and Chills of Postmodernism: The Western Intellectual Vertigo.” Studies in Political Economy.
Canadian Association of Learned Journals, 1979. 7–34.
Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. Duke University Press, 1991.
Jameson, Fredric. Signatures of the Visible. Routledge, New York. 1992.
Jameson, Fredric. The Cultural Turn: Selected Writings on the Postmodern 1983–1998. Verso, London. 1998.
Jennings, Marianne. “The Real Generation Gap.” Perspectives on Contemporary Issues: Readings Across the Disciplines. Edited
by Katherine Ackley. Harcourt Inc., 2nd Ed., 2000. 297–307.
Keefer, Donald. “The Postmodern Syndrome.” https://faculty.risd.edu/dkeefer/pms.htm#_edn1. 3 Mar. 1995. Web.
Accessed 11 Dec. 2017.
Laughey, Dan. Key Themes in Media Theory. Open University Press, 2007.
Lindgren, Simon; Dahlberg-Grundberg, Michael, and Anna Johansson. “Hybrid media culture: an introduction.” Hybrid Media
Culture: Sensing Place in a World of Flows. Routledge, New York. 2014. 1–15.
MacCann, Richard Dyer, editor. Film: Montage of Theories. E.P. Dutton & Co. Inc:New York. 1966.
McGuigan, Jim. Modernity and Postmodern Culture. Open University Press, 2nd Ed. 2006.
Norris, Christopher. "Afterword (1991): Further Thoughts on Deconstruction, Postmodernism and the Politics of
Theory." Deconstruction: Theory and Practice. Routledge, 3rd Ed., 2002. 134–55.
Osborne, Peter. The Politics of Time: Modernity and Avant-Garde. Verso, London. 1995.
Rotilie, Susan. “Elements and Principles of Today’s Art: Hybridity.” Art Today, Walker Art Center,
schools.walkerart.org/arttoday/index.wac?id=2377. Accessed 8 Dec. 2017.
Silverman, Hugh J. "Derrida, Heidegger, and the Time of the Line." Continental Philosophy II: Derrida and Deconstruction.
Routledge, 1989. 149–63.
Reyes, Raniel SM. “The 'False' of Contemporary Philippine Society: Adorno, Immanent Critique and Popular Music.”
Baybayin vol. I, no. 1., 2015. 68–89.
Vaughan, Hunter. "Sound, Image, and the Order of Meaning." Where Film Meets Philosophy: Godard, Resnais, and Experiments
in Cinematic Thinking. Columbia University Press, 2013. 101–38.
Vernallis, Carol. Unruly Media: YouTube, Music Video, and the New Digital Cinema. Oxford University Press, 2013.
“Year-end Review 2012: Trending and Top Stories Philippines.” TheSummitExpress,
http://www.thesummitexpress.com/2012/12/year-ender-report-2012-trending-and-top-stories-2012-philippines.html,
1 Dec. 2012. Web. Accessed 10 Dec. 2012.

Other Selected References:

“Gloc-9 ft. Billy Crawford - Bakit Hindi (Official Music Video).” YouTube.
https://www.youtube.com/watch?v=02h9wLJi9AA. Accessed 7 Dec. 2017.
“Michael Jackson - Leave Me Alone (Official Video).” YouTube. https://www.youtube.com/watch?v=crbFmpezO4A.
Video. Accessed 8 Dec. 2017.
Parfitt, Trevor. The End of Development? Modernity, Post-Modernity, and Development. Pluto Press, 2002.

!15