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The ABS-CBN Film Archives' 2015 restoration of the 1982 film T-Bird at Ako (dir. Danny Zialcita) addressed an archival public composed of lower-income fans and queer movie buffs. Pairing Philippine cinema's rival female superstars—Nora Aunor and Vilma Santos—within a same-sex romance, T-Bird and I represents a significant departure from the auteurist restoration priorities of both state and corporate film archives.T-Bird and I might strike contemporary viewers as heteronormative and transphobic, since today's globalized LGBTQ+ vocabulary is alien to the time of the film's production and initial release. The chapter draws on queer feminist theory's espousal of anachronism and queer Asian film studies' attentiveness to translation and vernacularization to reflect on the chronologically inappropriate terminology willfully wielded by queer feminist analyses of older works. It also teases out the film's racialized star-fan dynamics, lesbian cinephilic pleasures, and exploration of Catholic heteronormativity under the Marcos dictatorship.

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