{"id":521,"date":"2022-02-07T17:45:17","date_gmt":"2022-02-07T09:45:17","guid":{"rendered":"https:\/\/caarchives.org\/?p=521"},"modified":"2022-02-08T07:25:25","modified_gmt":"2022-02-07T23:25:25","slug":"queer-frames","status":"publish","type":"post","link":"https:\/\/caarchives.org\/queer-frames\/","title":{"rendered":"Queer Frames | Christian Jil R. Benitez"},"content":{"rendered":"\n

\u3010<\/strong>by<\/em> Christian Jil R. Benitez, Dec. 2021\u3011<\/strong><\/p>\n\n\n\n

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Still from Gameboys (2020) pilot episode<\/a><\/em>.<\/p>\n\n\n\n

That the first self-identifying \u201cboys love\u201d (BL) series from the Philippines\u2014Gameboys <\/em>(The IdeaFirst Company, 2020)\u2014emerged during the first few months of the global pandemic is crucial to the prospect of queerness it embodies. The series follows a recognizable BL arc: one day, Cairo (Elijah Canlas), a game streamer, serendipitously encounters Gavreel (Kokoy de Santos), who forthrightly initiates a romantic pursuit; despite Cai\u2019s early attempts to rebuff Gav\u2019s efforts, as well as other detours along the way (among them, the resurfacing of Gav\u2019s ex-boyfriend, Terrence (Kyle Velino), who wishes to win him back; and the unfolding of Cai\u2019s difficulties with his family, stemming from his current grappling with his own sexuality), the two boys\u2014as protagonist boys are all bound to in the BL universe\u2014eventually falls for each other. At the same time, the series also exhibits tendencies shared with the Filipino teleserye<\/em> (\u201ctelevision series\u201d), such as having its \u201cnarrative placed in the context of the family\u201d[1]<\/a> and, following its critical acclaim all over the world, promptly creating its transmedial extensions, including the additional three episodes to the originally planned ten; a direct film sequel; a script book; an off-shoot series (that centers on girls love (GL), no less); and a still impending second season.[2]<\/a> However, above all these, what particularly strikes in the series is its use of multiple frames, which discursively makes apparent an alternative, if not urgent form of intimacy.<\/p>\n\n\n\n

For the most part, Gameboys <\/em>takes place online, through the video stories posted by the characters as they go about their daily lives; clips that give an overview of their respective social media accounts and chat messages; and, of course, video calls among themselves. This recourse to the digital world ingeniously allows the series to both contemporaneously represent what has become of our relationships in the time of social distancing, and provide a practical means for the production to commence itself while abiding to the necessary health protocols at the time.[3]<\/a> And so, whenever the characters engage in real-time verbal communication, they would simply appear on-screen in close-up, looking directly to the camera and to the other who is framed\u2014from the viewers\u2019 vantage\u2014adjacent to them. In effect, as the characters speak to each other, they also seem to speak directly to the viewers\u2014an impression that is more crucial considering how Gameboys<\/em> was originally released via YouTube, and hence primarily accessed via devices through which one can similarly go online and rehearse the same digital practices that the characters enjoy, rendering then the experience of watching as if the viewers themselves also partake in the very diegetic encounter. To put it another way, one can imagine that from the characters\u2019 end, the viewers can also be found within similar frames on their screen, present in the same video conference room, although ultimately invisible, hidden from these characters\u2019 eyes.<\/p>\n\n\n\n

It is, in other words, as if the audience becomes the couple\u2019s \u201cthird wheels\u201d[4]<\/a>\u2014however not simply in the way that they are onlookers beholding the audiovisual material, and thus under the presumption of a rigidly clear \u201ccut\u201d[5]<\/a> between the subjects (the spectators) and the object (the spectacle); but instead as participating presences, too,\u201cwithin\u201d its BL universe, in their corporealities that somehow traverse these \u201cworlds.\u201d Something posthuman, therefore, is proposed to be at work, intimating intersections and implications\u2014indeed, refractive involvements\u2014with the BL universe of the so-called \u201creal world,\u201d or that field often construed as the former\u2019s other, if not outright contrast.[6]<\/a> For after all, as much as the life of Gameboys <\/em>as a material primarily depends on its fan base,[7]<\/a> the converse also appears to hold true: the series\u2014and perhaps, the BL phenomenon writ large\u2014has been crucial for the survival of many in the Philippines,[8]<\/a> yet not in the mere escapist sense of bourgeoise pleasure-taking from the material, but in terms as well of the expansive imagination it dares us to practice in a time as constricting as the present, particularly toward the possibility of happiness for queer Filipino subjects.[9]<\/a><\/p>\n\n\n\n

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Still from Gameboys (2020) pilot episode<\/a><\/em>.<\/p>\n\n\n\n

And yet, queerness in BL must be also intuited beyond the diegetic entanglement of boys among themselves, and perhaps as a mode, too, of becoming with the vicissitudes of everyday\u2014even, and especially so, for the audience themselves. It must be realized, for instance, in the possibility of our anthropomorphic selves letting emerge a certain strange intimacy with things distant (tele<\/em>) and deferred (serye<\/em>)\u2014things that we presume to simply \u201cwatch\u201d from afar\u2014and to be \u201cinterrupted by [their] indeterminable capacity\u201d to do so,[10]<\/a> time and again, if only to remind us in the end that we are as much framed as we frame things around us. In other words, it is such queerness that takes into account \u201cthe intercorporeality and intersubjectivities and inter(dis)embodiments of dwelling in cyberspace and in the integrated circuits of technology.\u201d[11]<\/a> Simply put, we are queer and<\/em> we queer by the sheer virtue of our cyborged lives, in the middle of the global pandemic, in our attempts to adapt to, and make livable and intimate still, the perverse quarantine. <\/p>\n\n\n\n

Here, it is instructive to turn to another example from Philippine popular culture that similarly demonstrated the critical opportunities presented by Gameboys<\/em>: the AlDub phenomenon, or the pairing between Alden Richards and Maine Mendoza, hosts of the noontime T.V. show Eat Bulaga<\/em>, whose activating moment was an instance of kilig<\/em> caught live on national television. During one of the program\u2019s segment, in which the screen is halved to show those in the studio and those deployed outside in residential areas, as Maine\u2014playing her character \u201cYaya Dub,\u201d after the then trending platform Dubsmash\u2014delivered her signature lipsync performance on a street of Manila, the other screen suddenly featured Alden\u2019s face, whose smile jolted the former out of her character. The other hosts, quick to realize the chemistry between the two, easily teased them into a ship, giving birth to the program\u2019s another segment: Kalyeserye<\/em> (\u201croad series\u201d), a daily improvised comedic teleserye starring Maine and Alden, which narrates their blossoming romance despite the distance and eventually culminates to their meeting at long last in the flesh, within a single frame. Considered a global phenomenon with the record-breaking social media engagements it has instigated,[12]<\/a> the pairing was then subjected to \u201coverexposure\u2014six  days  on  TV,  countless  endorsements,  huge billboards,  magazine  covers,  record  deals,  trips  abroad,  etc.\u201d[13]<\/a><\/p>\n\n\n\n

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Still from \u201cKalyeSerye Day 1: Ang Simula ng Forever.\u201d<\/a><\/p>\n\n\n\n

Although a lot has already been said in attempts to explicate this \u201cunexpected and unpredictable\u201d media phenomenon,[14]<\/a> most of which relies on its supposed intimation of the Filipino popular consciousness, what a particularly posthumanist perspective adds to the conversation is a crucial attention to the technological form that has enabled everything to take place: the real-time split-screen, which renders the act of watching not only performed by the viewers at home, but also by the personalities themselves, given the improvisatory work necessitated by the event itself. This, coupled with the fact that the warm reception of millions of viewers has encouraged the further transmedial ventures of the love team, ultimately queers the notion of spectacle itself, in the sense that it can now be seen as a collaboration, if not a corroboration, between various material agencies, both \u201chuman\u201d (as stars and as audiences) and \u201cnonhuman\u201d (the technologies and environments involved, for example), whose categorizing cuts among themselves are now perceived to be somehow blurred. For one, human touch on screen\u2014the shape of a heart formed by two hands, or even a kiss\u2014becomes possible only because prostheticized by the screen itself. The irony of the line supposedly separating, therefore, is its potency toward such assemblage.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Still from Gameboys (2020) episode 4<\/a><\/em>.<\/p>\n\n\n\n

While Gameboys<\/em> is less experimental than the AlDub phenomenon on at least two accounts\u2014namely, that it is not performed live, and that its most vital form of multiple frames has been already derived after the said media event\u2014the assimilation of the series to the specific Philippine present, with the current propensity of the latter for online social entertainment, the BL genre, and digital communities, has rendered Gameboys<\/em> as a moment crucial to both the contemporary entertainment history in the country, and efforts to articulate posthumanism from such context, if not from Asia in general. For one, it offers the nascent field of fan studies in the Philippines, often regressively contemplated through the meagre framing of consumption, an opportunity for rethinking, taking into consideration how the digital circuitry alters what being a fan could possibly mean and entail\u2014from being a discourse on distance with relation to the idol, for instance, and toward an embrace on such distance as integral, in fact, to the experience of adoration and pleasure themselves. The latter, in turn, would then allow us to reconsider, too, our ideation of intimacy, which in troubling our sense of what is \u201cinmost\u201d also reconfigures, and even disfigures, our understanding of both space and time: that perhaps, in such context as now, what is distant and deferred would also be recognized as something so close it is already entangled with us\u2014a vision that might be instructive for our survival in the present, if not the subsequent times.<\/p>\n\n\n\n

And so, when Gameboys<\/em> and other similar BL series are being hailed as intimating of \u201cstruggles [that] are our [the Filipino audience\u2019s] struggles,\u201d[15]<\/a> what can be intuited now is how such appraisal also supersedes discourse of representation, that is, how BL purportedly provides a portrayal of complexities encountered by queer Filipino subjects; and instead, suggests how these audiovisual \u201cobjects\u201d are indeed sites of contestation in which the audience, previously thought of simply as phenomenological \u201csubjects,\u201d are also material agents most involved with the former\u2019s constructions and elaborations. Something is thus at stake\u2014on the line\u2014on these frames we watch so devotedly online: perhaps our own queerest quarantined lives.  <\/p>\n\n\n\n

<\/div>\n\n\n\n
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AUTHOR<\/strong>
Christian Jil R. Benitez, Ateneo de Manila University, Philippines<\/p>\n\n\n\n

\n\n\n\n
<\/div>\n\n\n\n

NOTES<\/strong><\/p>\n\n\n\n

[1]<\/a> In his now deleted Twitter account, teleserye scholar Louie Jon Sanchez (@ljsanchezph) wrote: \u201cWe fell in love more to the young lovers for they are good children to their parents, brothers to their siblings. The BL becomes teleserye for the narrative is placed in the context of the family\u201d (\u201cLalo pang napaibig sa atin ang mga kabataang mangingibig sapagkat mabubuting anak sa mga magulang, mga kapatid sa kanilang kapatid. Nagsateleserye ang BL dahil itinanim ang kuwento sa konteksto ng pamilya\u201d); see in John B. Bengan, \u201cIsang Haraya ng Lambing: Ang Pagsikat ng Boys\u2019 Love sa Pilipinas sa Panahon ng Pandemyang COVID-19\u201d [\u201cAn Imagination of Tenderness: The Rise of Boys\u2019 Love in the Philippines During the COVID-19 Pandemic\u201d], Katipunan<\/em> 6 (2020): 30n6, 39, accessed September 20, 2021, https:\/\/ajol.ateneo.edu\/katipunan\/articles\/233\/6734<\/a>.<\/p>\n\n\n\n

[2]<\/a> These transmedial extensions, as additional capitalistic ventures, also demonstrate what Sanchez surmises as the contemporaneity<\/em> of the teleserye; and yet, at the same time, these extensions also go beyond the reflectiveness (\u201c[pagka]sumasalamin\u201d) of such contemporaneity, given that there is an actual material interaction between the teleserye itself and the audiences themselves via such further transmedial productions. See Sanchez, \u201cTeleserye at Kontemporanidad\u201d [\u201cTeleserye and Contemporaneity\u201d], Katipunan <\/em>5 (2020): 86, accessed September 20, 2021, https:\/\/ajol.ateneo.edu\/katipunan\/articles\/232\/6819<\/a>.<\/p>\n\n\n\n

[3]<\/a> For the latter, see Perci Intalan, \u201cFinding our North Star in Gameboys,\u201d The Philippine Star<\/em>, July 27, 2020, accessed September 20, 2021, https:\/\/star34.philstarlife.com\/article\/869605-finding-our-north-star-in-gameboys<\/a>.<\/p>\n\n\n\n

[4]<\/a> \u201cOn Gameboys: The Baby, the Gago, and Carly Rae [Part 1],\u201d Squeeze<\/em>, August 19, 2020, accessed September 20, 2021, https:\/\/squeeze.ph\/on-gameboys-the-baby-the-gago-and-carly-rae-part-1\/<\/a>.<\/p>\n\n\n\n

[5]<\/a> Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning <\/em>(Durham & London: Duke University Press, 2007), 114.<\/p>\n\n\n\n

[6]<\/a> For instances of such contrasting, see Ryan Macasero, \u201cFilipino BL: How \u2018Gameboys\u2019 gets it right,\u201d Rappler<\/em>, August 3, 2020, accessed September 20, 2021, https:\/\/www.rappler.com\/entertainment\/series\/gameboys-filipino-bl-series<\/a>; and E. Avena, \u201c\u2018Gameboys\u2019: How the Lockdown Unleashed a Modern Love Story,\u201d Rank<\/em>, July 4, 2020, accessed September 20, 2021,https:\/\/www.rankthemag.ph\/review-gameboys-lockdown-unleashed-modern-love-story\/<\/a>. Elsewhere, I attempt to provide a counterpoint, asserting that there exists a continuity between the \u201cBL universe\u201d and the \u201creal world,\u201d one that is founded on the sense of irony; see \u201cConstellating Romance,\u201d Young Critics Circle Film Desk<\/em>, November 11, 2021, accessed November 13, 2021, https:\/\/yccfilmdesk.wordpress.com\/2021\/11\/11\/constellating-romance\/<\/a>.<\/p>\n\n\n\n

[7]<\/a> See Intalan.     <\/p>\n\n\n\n

[8]<\/a> For instances among the countless testaments of fans regarding the existential gravity of BL, see Don Kevin Hapal, \u201cSarawaTine helped keep myself ‘2gether’ during the lockdown,\u201d May 15, 2020, accessed September 20, 2021, https:\/\/r3.rappler.com\/entertainment\/tv\/261013-sarawatine-helped-keep-myself-2gether-coronavirus-lockdown<\/a>; and Rye Quizon, in Toni Potenciano, \u201cWhich lockdown hobby took over your life?,\u201d CNN Philippines<\/em>, March 17, 2021, accessed September 20, 2021, https:\/\/cnnphilippines.com\/life\/culture\/2021\/3\/17\/one-year-lockdown-hobby.html<\/a>. For Gameboys<\/em> in particular, see Macasero; and @surethingpating @rappercairo and @kolokoyforever, \u201cA Community Reacts: How \u2018Gameboys\u2019 Gave the Pandemic, our Culture, and the World a Major, Necessary Rewrite,\u201d Rank<\/em>, September 20, 2020, accessed September 20, 2021, https:\/\/www.rankthemag.ph\/perspectives-gameboys-finale-rewrite-community\/<\/a>.<\/p>\n\n\n\n

[9]<\/a> Bengan nominates such imagination to be that of tenderness <\/em>(lambing): \u201cthe pursuit or comforting of a person displeased or sulking, tendencies always shown in Thail BL, that ultimately arrives to \u201ctenderness\u201d (\u201clambingan\u201d)\u2014the sweet intimacy of two people\u201d [\u201cang pagsuyo o pag-alo sa isang taong nagtatampo o nagmamaktol, mga ugaling palaging ipinapakita sa Thai BL, na hahantong din sa \u2018lambingan\u2019\u2014ang matamis na pagdadaiti ng dalawang tao\u201d] (9).<\/p>\n\n\n\n

[10]<\/a> Benitez, \u201cTelepathic Visions: On Alvin Yapan\u2019s An Kubo sa Kawayanan<\/em> (2015),\u201d Res Rhetorica<\/em> 8, no. 2 (2021): 57, accessed 20 September 2021, https:\/\/doi.org\/10.29107\/rr2021.2.4<\/a>.<\/p>\n\n\n\n

[11]<\/a> Edmond Y. Chang, \u201cTechnoqueer: Re\/Con\/Figuring Posthuman Narratives\u201d (PhD dissertation, University of Washington, 2012), 4.<\/p>\n\n\n\n

[12]<\/a> See Heather Chen, \u201c\u2018\u2018AlDub\u2019: A social media phenomenon about love and lip-synching,\u201d BBC<\/em>, October 28, 2015, accessed September 20, 2021, https:\/\/www.bbc.com\/news\/world-asia-34645078<\/a>.<\/p>\n\n\n\n

[13]<\/a> Richard Bolisay, \u201cThe Good and the Bad: AlDub in Film,\u201d Plaridel <\/em>13, no. 2 (2016): 247, accessed September 20, 2021, http:\/\/www.plarideljournal.org\/article\/good-bad-aldub-film\/<\/a>.<\/p>\n\n\n\n

[14]<\/a> Patrick Campos, \u201cOn the AlDub Kalye Serye Phenomenon – A Roundtable Discussion,\u201d Plaridel<\/em> 12, no. 2 (2016): 217, accessed September 20, 2021, http:\/\/www.plarideljournal.org\/article\/roundtable-discussion-aldub-kalye-serye-phenomenon\/<\/a>.<\/p>\n\n\n\n

[15]<\/a> Macasero.<\/p>\n","protected":false},"excerpt":{"rendered":"

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