Abstract
The essay situates the life of and the mass-mediated folklore woven around Nora Aunor, the most accomplished transmedia performer the Philippine entertainment industry has produced, in the context of women's labor. The latter is inscribed in the political economy of performance in cinema that dramatizes a particular material condition Aunor and her audience embody. Aunor's biography, therefore, serves as a narrative of work that invests emotion and role playing in the production of a consumable and consuming passion of "acting" and "action".
