Passages through the Third world: A few thoughts on Kidlat Tahimik’s Why is Yellow at the Middle of the Rainbow?

How does one begin to describe these eclectic offerings as films by the Filipino maverick Kidlat Tahimik aka Eric de Guia?  Even at a first glance they seem to associate themselves in a not so self-conscious way to a mesh of cinematic history, of identifiable names of non-Classical genres such as the diary film, autofiction, third cinema, ethnographic film, essay film, home movies and so on and so forth that combines an unmistakable anti neocolonial pulse that characterises the early film works of Fernando Solanas with quirky, humorous action-autobiographies of Boris Lehman. Indeed Tahimik inspires such unlikely bridges across history and geography. Why is Yellow at the Middle of the Rainbow? (1994) is complemented by a voice over that functions as a dialogue between a father and a son, Tahimik and his own son, navigating the turbulent political landscape of postcolonial Philippines between 1981-1991. The US/us dialectical antinomy frequently used in wordplays is central to Tahimik’s films,  US is not merely the face of neocolonial imperialism that operates from a distance. Tahimik is primarily interested in exploring it’s everyday manifestation in the lives of his Filipino countrymen. While other generic projections can often be sustained fleetingly, the one that Tahimik definitely refers and aspires to is the Third cinema and its relationship with the broader identity of the Third world.


Completed in more than a decade after Sinong lumikha ng yoyo? Sinong lumikha ng moon buggy? (1982) what concerns ‚Why is yellow…‘ unmistakably are questions of modernity and identity. Like many artists from the ‚Third world‘, the sustained struggle seems to exist within the process of a negotiation between a formal freedom from dominant modes of media culture, to challenge hegemonic universalities and to model an artistic form that borrows something from ethnic history and it’s formal inscriptions- something that underscores works of many filmmakers like Haile Gerima and Govindan Aravindan. On the other hand, one would be hard pressed to label Tahimik as some kind of virgin artist, abstracted from transnational currents, the corruption of modernity- an eternal fascination of many western critics. The long and short of it being that Tahimik, even for his brief role in Werner Herzog’s Jeder für sich und Gott gegen alle (1974) notwithstanding, seems to have touched and have been touched by various fluxes of cinematic practices. His films are improvisational, satirical and reflect oddly on the means of production, not necessarily in the same vein as the consciously anti-representational strand(s) of experimental filmmaking, but the projection of the poorly exposed, grainy strip of 16 mm would indeed be a ‚Third world projection‘ or a projection of the third world. The history of third world cinema and indeed the history of cinema itself is a history of struggle for the resources of production, a history of lost films, abandoned films, films damaged beyond redemption, films perceived and discarded in thoughts, diaries and sketchbooks or merely confiscated and destroyed. Haile Gerima showed excerpts of his unfinished film at the Cinematek in Brussels earlier this year in order to draw funds and to be able to complete the film. The production history of Tahimik’s last film, Memories of Overdevelopment (2011) that has a 25 year gap somewhere in the middle, can be titled a Kalatozov sequel-like ‚A letter that never reached‚. These films reside within such paradoxes- between the arch of Western institutions, a sense of self-inflicted gentrification and the lack of cultural patronage in emerging economies. Like Gerima, Tahimik underlines that the face of neocolonialism has changed color from White to Black or Brown, and that the anticolonial struggle is an everlasting one. At one point in the film, the voice over anguishes that it is harder to fight the dictatorship in us than that of the US – in yet another comical articulation of the us/US divergence.

Closer home, Tahimik’s films share much more in common with the films of Nick Deocampo than with the dramatic traditions of Mike De Leon or Lino Brocka. In ‚Why is yellow…‘, usually a shot lasts for a few seconds splashed with frequent moments of brilliance. A travel diary suddenly becomes a passage to a Ruizian imagination of a child’s nightmare, the next shot becomes the classic anti-illusionist Brechtian allusion- a return to the documentary roots followed by a shot that takes us indoors, a resort to a typical home movie aesthetic.


Often Tahimik uses rapid montage to cut between the personal and the political. Televised news of the murder of Benigno Aquino is followed by a high pitched operatic voice that struggles against the ruffling branches of trees melting into window panes, a meek figure of a boy encountering the storm, a political upheaval around the corner cut to marches on the streets of Manila and TV images of street demonstrations. This entire sequence of shots last less than a minute, each individual shot, again, barely a few seconds long. We are transported briefly into a Situationist world where the fragments of a rational world are rattled in a frantic spin to be traded for a revolutionary vision.

‚Why is yellow…‘ also has passages of pure ethnographic nature, the term ethnographic used in a broader folkloric sense than the western construction of a means to encounter its others. Here Tahimik mounts his critique of tourism as a force of neocolonialism, and reflects upon the ecological and anthropological challenges posed by it. Tahimik directs our attention to rhythms of bodies and movements of people working, a glimpse at third world labour. He seems very keen on costumes and engineering caricatures. He has a penchant for school kids participating in costume dramas clad in ambitious colours, for metal discards beyond their cycle of usefulness.

Much like Boris Lehman, Tahimik infuses this film with body actions (later recycled for Memories of Overdevelopment), he enacts the life of a Magellan’s Filipino slave. The film rolls along with animation, TV reportage, newspaper cuttings, costume plays, toys and scrap metals, each an important cog in Tahimik’s political wheel. We witness a meticulous deconstruction of the ‚Third world‘, sometimes through images of mechanical labour and sometimes the voice over darting pointers at the nature of labour. In yet another enigmatic sermon from the father we hear, “In third world, owning a piece of land is about building your own home, in first world, buying and selling land is about making profit”.


At various moments in the film, Tahimik recovers Chris Marker’s cat, in another particularly striking series of rapid cuts, between two shots of television, one with Ronald Reagan and other with members of Filipino militia we see an amused cat, and later, the same cat exhausted, lying on the floor dejected.

The possible associations that ‚Why is yellow…‘ implores in just under 180 mins is endless. To say this is by no means to suggest that this is some kind of pastiche, in fact quite the opposite. ‚Why is yellow…‘ truly and completely embodies a Dadaist universe, in each fragment we discover something essential of the material world.

Before concluding, a brief reflection on a particular visual constituent of the films- miniature toys. Watching this film sometimes feels like intently observing a Manny Farber painting recalling the realisation of ‚My Budd‘ in Jean-Pierre Gorin’s Routine Pleasures (1986). These plastic/artificial parts complete the film like the painting as a “scale model of the world” (as referred to by Bill Krohn).

On a broad narrative scale, if one is concerned about navigating a nation’s significant historical period and the metamorphosis in a personal life, the film instinctively reminds us of David Perlov’s Yoman (1983).

More importantly, in the history of Cinema, a selection of notable filmmakers like William S. Hart, Charlie Chaplin, Jerry Lewis, Pierre Etaix, João César Monteiro and definitely Boris Lehman have often thrust themselves at the center of their cinematic world only to reorient us to be able to view the world uniquely. Kidlat Tahimik most definitely belongs to such a ‚tradition‘, if one can call it that.

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  82. This is having a bit excess subjective, nevertheless I a lot like the Zune Market place. The interface is colourful, consists of a lot more aptitude, and some neat options together with ‚Mixview‘ that permit your self all of a sudden perspective very similar albums, new music, or other users very similar towards what you happen to be listening towards. Clicking upon one of those people will heart on that item, and one more fastened of „neighbors“ will occur into watch, permitting you toward navigate more than looking into as a result of identical artists, songs, or consumers. Speaking of people, the Zune „Social“ is far too superb entertaining, making it possible for you find many others with shared choices and getting mates with them. By yourself then can pay attention in the direction of a playlist generated centered on an amalgamation of what all your buddies are listening towards, which is way too interesting. Those worried with privateness will be relieved toward know by yourself can stop the general public in opposition to watching your unique listening behaviors if your self thus decide on.

  83. The contemporary Zune browser is amazingly constructive, nonetheless not as very good as the iPod’s. It is effective nicely, but isn’t really as immediate as Safari, and includes a clunkier interface. If yourself occasionally program upon having the web browser that is not an issue, nonetheless if you are building in the direction of read through the website alot in opposition to your PMP then the iPod’s larger sized screen and far better browser may well be important.

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  85. Sorry for the large review, nonetheless I am Pretty loving the fresh new Zune, and expect this, as nicely as the best reviews some other persons include composed, will assistance yourself make your mind up if it is the directly preference for yourself.

  86. If you might be nonetheless on the fence: seize your most loved earphones, head down toward a Least difficult Buy and inquire in direction of plug them into a Zune then an iPod and watch which just one sounds better to you, and which interface tends to make on your own smile excess. Then you’ll notice which is straight for on your own.

  87. I just could not depart your website before suggesting that I extremely enjoyed the standard info a person supply in your guests? Is gonna be back incessantly in order to check out new posts.

  88. I do consider all the ideas you have introduced in your post. They are very convincing and can definitely work. Still, the posts are very short for newbies. May just you please extend them a little from subsequent time? Thanks for the post.

  89. Zune and iPod: Maximum folks review the Zune towards the Touch, nevertheless as soon as looking at how slender and remarkably low and gentle it is, I take it towards be a fairly one of a kind hybrid that brings together attributes of either the Contact and the Nano. It can be incredibly vibrant and attractive OLED display is a little bit smaller than the touch screen, nevertheless the player by itself feels fairly a little bit smaller sized and lighter. It weighs regarding 2/3 as much, and is appreciably smaller sized inside of width and peak, despite the fact that staying simply just a hair thicker.

  90. Hey just wanted to give you a quick heads up. The words in your article seem to be running off the screen in Internet explorer. I’m not sure if this is a formatting issue or something to do with browser compatibility but I thought I’d post to let you know. The design and style look great though! Hope you get the problem resolved soon. Thanks

  91. Hi, i think that i saw you visited my web site thus i came to “return the favor”.I’m attempting to find things to improve my web site!I suppose its ok to use some of your ideas!!

  92. Sorry for the huge examine, but I’m really loving the fresh new Zune, and be expecting this, as very well as the Fantastic testimonials some other persons incorporate written, will assistance on your own come to a decision if it is the instantly decision for you.

  93. I’ve been exploring for a bit for any high quality articles or blog posts on this kind of area . Exploring in Yahoo I at last stumbled upon this website. Reading this info So i’m happy to convey that I have an incredibly good uncanny feeling I discovered exactly what I needed. I most certainly will make certain to don’t forget this site and give it a glance regularly.

  94. I’ll devices this evaluation towards Two products of These: existing Zune property owners who are thinking about an upgrade, and humans seeking toward decide among a Zune and an iPod. (There are other gamers significance taking into consideration out there, including the Sony Walkman X, yet I anticipate this features oneself plenty of information in direction of deliver an conscious determination of the Zune vs avid gamers other than the iPod line as well.)

  95. I will products this study toward Two models of Those people: existing Zune householders who are considering an enhance, and people attempting to make your mind up between a Zune and an iPod. (There are other players really worth contemplating out there, which include the Sony Walkman X, nonetheless I hope this offers on your own enough facts in direction of create an conscious selection of the Zune vs gamers other than the iPod line as very well.)


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