PHILIPPINE CINEMA
BRIEF HISTORY • As a form of art, it shows the beliefs and the culture of its audience and at the most of the time, it shapes their consciousness • Most moviegoers come from those who have lower income • It seems to have a strong influence on the younger population
• 1897: two entrepreneurs, Mssrs. Leibman and Peritz, showed documentary films that depict the recent events and natural calamities of Europe • 1903: American colonialism entered silent films and made a movie market • 1912: two American entrepreneurs made a film of Rizal’s execution and in the process, realized that the Filipinos need something that is close to their heart • 1919: Filipinos started making movies • Jose Nepomuceno: “Father of Philippine Movies”
• The Philippine Cinema Industry experience some mishaps along the way, namely The Second World War and the Martial Law, yet it’s the fact that the ‘Pinoy-ness’ of the movies – themes, characters, plots, etc. – stayed up to the present indie films, that is remarkable.
PROFILE: THE PHILIPPINE CINEMA INDUSTRY Escape from the harsh realities of everyday life Stories that enable the audience to identify themselves with the characters A potent preserver of cultural heritage “entertainment industry”
PROBLEMS BESETTING THE INDUSTRY LOCAL FILMS VS. FOREIGN FILMS -Battle for the local market -Over the years not enough local films have been produced -Increased viewership per film rather than increasing production outputs -Local films have an edge in terms of exhibition exposure -There is still an abundance of foreign films over local films in terms of absolute figures
HEAVY TAXES IMPOSED ON THE INDUSTRY -Onerous taxation is the heaviest problem that continues to beset the local film industry -An importer of foreign films pays basically the same taxes as that of a movie producer -Cost incurred by movie producers in film production is higher than the cost paid by importers in the importation of films -“unfair competition”
FINANCIAL PROBLEMS OF LOCAL MOVIE PRODUCERS -High cost of production -Drowned the desires of the cinema industry to focus on socially relevant and valueinfused films -Producers resort only to bankable stars to guarantee the return of their investments -“star syndrome”: stars are paid enormous talent fees, big chunk from producer’s budget
FILM PIRACY -Increased with the proliferation of video technology -Tremendous losses in earnings -Return on investments of would-be producers are not assured -“quickies”: films with mediocre stories and low technical quality -The concern for producing socially relevant values are not given importance
VALUE FORMATION AND PHILIPPINE CINEMA • Cinema as art cannot assume the duty of specifically educating its audience • Cinema as art cannot divorce itself from science. For it is, a mutant of science and technology • When cinema caters to the wider audience , it cannot possibly raise its stakes at attempting to be the highest form of art
• A contradiction lies in merging cinema as art and commerce • Mass media is a web of interconnected channels feeding on each other to sustain life
Cinema is considered unique like all forms of mass media where the size of the audience is awesome simply because of its availability and its accessibility
Producers and film distributors cannot care less about the number of Star Awards or Urian trophies collected by a single moviemaker or film. If it is a blockbuster, then both creator and creation are revered; if it failed in the box office, then it did not serve its purpose.
As long as our macho audience flocks to the theatre to watch their favorite action star bring to life their most admired criminal, then there is no way in justifying why violence is appalling.
Because we are so used to compromising, Filipinos have made their standards of acceptability so malleable, so ambiguous, that we may have lost that thin line of distinction between the tolerable and the miserable.
BROCKA PARADIGM • Lino Brocka is the ultimate exponent of interventionist filmmaking in the Philippines • Brocka’s discourse in the context of the broader articulation of struggle • Brocka was the Philippines’s foremost filmmaker • Brocka had always occupied the top spot in Philippine contemporary cinema
• Theme: petty-bourgeois epiphany • Automatically assume social realist texture as social contradictions are foregrounded and portrayed vividly • It is high time to change • New era of social relations • Show the Way to everyone. The hero changes. Society changes. • Reconstruct a socio-political milieu without concretizing the historico-material conditions that could have clued us into the various ways in which some of the characters in his films had been interpelated into their shifting and multiple subjectpositions
• Story of the father: The male protagonists becoming heroes by discovering the “truth” about their existence or origins and acting upon the problems caused by and traced to the secret of the past • Privileging the Petty-bourgeois: intimate connection between the notion of lumpenproletariality and anarchism • Lumpenproletariat: the refuses of a classes • Anarchism: rejects the principle of political authority and maintains that social order is possible an desirable without such authority
io l u J f o s e v i l e h t e r e w e n e m h o t c e d b o p o y a g e o t s h t a / c h i e t v W a a H m a ? r g d n lo ri e u T m r d o n a s e i r a n o i revolut martyrs? c i t a r e p o
Do the films of Brocka rep resent the interpellatio ns of capital and class struggle?
Brocka’s filmic discourse obfuscates the political praxis of third world revolutions when it insists on premising the struggle for social change on the bipolarities of lumpen anarchy and vanguardist reformism.
Brocka’s strategy suggests that either we expose the body politic to mega dosages of chemotherapy or cremate the corpse.
METRO MANILA FILM FESTIVAL • The Movie Workers’ Welfare Fund (Mowelfund) ran the festival until 1976 • It used to have a June 21(Araw ng Maynila) playdate: opening of classes leaving households with no money to spend on the movies • Moved to the December date: the best month for the movies: schools are closed and people tend to part more easily with their cash
• The festival’s chairmanship revolves around Metro Manila’s 14 mayors • Revenues is then divided equally among the producers, the theater owners, and the MMDA • Slowly, things are beginning to look up for the Philippine movie industry • It’s always good to keep track of an industry which, from all indications, may have its third Golden Age – yet.
ANG TANGING INA MO, Last na ’to! (2010)
• One of the entries for the MMFF 2010 • It is the last of a threepart sequel. • It is the story of a mother, Ina Montecillo, trying to involve herself into the lives of her 12 children now that she’s dying.
• The family still stays as the most important part of a Filipino’s life. Even with all the glamour of wealth, everything still points to the care and comfort that a family gives, it’s priceless. • The concept of politics still lures the life of Ina. She was the former President of the Philippines, the whole world loves her, yet, all of this distanced her from her children to the point that she didn’t even know that one of her children is getting married soon. Up until now, politics and media still pull her from her family affairs • As the concept of death hunts Ina’s mind everyday, she also thinks of everything she will leave behind, her children, grandchildren and her wealth: the scholars she is sponsoring in one elementary school, the pigs she own, etc, she’s not ready to leave them just yet.
• Death also permitted her to have 4 husbands and 12 children. When a husband dies, a replacement comes to her. • Jokes about ‘Filipino english’ is also depicted by Ina as she tries to talk to her daughter’s Canadian husband. • Sibling rivalries were also present in some of her children. Juan and Tri mostly about money matters, Tudis and Seven, etc. • One of the family values present were the fact that the eldest ones are expected to provide for the family after the parents retire, but, in this case, Juan had problems in getting to New Zealand so because of shame, he decided to stay in the Philippines but away from his family.
• The extravagance of the presidents and former presidents were also depicted in how Ina dresses up, tall hairstyles and long gowns, always ready for any ribbon-cutting. • Ina’s other children are spread out around the globe, either as a priest, a nun, an OFW, etc. This depicts the reality that many Filipinos prefer to stay abroad than in their own country, for a variety of reasons. • The maid here, Malena, is depicted as a pet to the Montecillo family. This is the reality of some of the Filipino maids. • This film depicts both the beauty and ugliness of being on top.
SHAKE, RATTLE AND ROLL 12 (2010)
• An entry in the MMFF 201 0 • 12th of the Filipino Horror series Shake, Rattle and Roll • Each installment depicts three episodes. • For SRR 12: – Mamanyika – Isla Engkanto – Punerarya
• Each episode keeps the horror characteristic present but never fails to portray a certain aspect of society or a certain problem kept hidden by society. – Mamanyika depicts a family that was ruined by misunderstandings – Isla Engkanto depicts a group of urban ladies who seem to be close-minded of what is ‘out there’ – Purgatoryo shows the image of a funeral parlor as a ‘prison’ to those who are inside and a mysterious ‘haunted house’ for those who dare to stay until the sun sets.
• Each episode also shows the expertise and the art of three different directors, highlighting different perspectives of society • The use of fear and horror to manipulate the choices of the characters is also effective. • It is also remarkable how a horror film still gets a large amount of audience at a time when celebrations and joyous songs fill the air, Christmas. • The concept of colonial mentality also lures in some of the episodes, the killer doll in Mamanyika which could be associated with Chucky of Hollywood; the constant looking for drinks and other vices in Isla Engkanto and others.
• Mamanyika: the killer doll encompasses all the insecurities and memories that every character everyone wants to forget. The innocence of the doll is replaced by a rage caused by the spirit of revenge • Isla Engkanto: the island is supposed to be an escape from the city but it turned out to be a horror experience that would make you wish that you are at home, listening to honks of cars outside, etc. • Purgatoryo: the funeral parlor is made to cater the needs of the dead, in preparation for the next life. But, in this case, the purgatoryo is just a front to the world of engkantos, a world that inflicts death. This horror series uses fear to sell the ‘eyeopeners’ of society
CINEMALAYA Philippine Independent Film Festival • “is a competition that aims to discover, encourage and honor the cinematic works of Filipino filmmakers that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity. It aims to investigate the Philippine film industry by developing a new breed of Filipino filmmakers. It also intends to help, develop and create new film works that speaks of Filipinos as a people and as a society through films that are not restricted or bound by commercial studio formulas.” (Pres. Nestor Jardin, Cinemalaya Philippine Independent Film Festival)
• The idea of an independent film festival was something new to the Filipino public • Supported by Tony Boy Cojuangco, Cultural Center of the Philippines(CCP), the UP Film Institute and the Film Development Council • Cinemalaya is not covered by the censorship of the classification powers of any organized body. The only requirement is it must have good quality – solid script and it must be executed and acted well. It should be honest. • The quality of commercial films have improved due to the contribution of independent films
‘INDIE’ FILMS • Because of the flooding of films from Hollywood, local filmmakers reverted to formulaic, “takilya”tested plots for survival, thus sacrificing quality. • The mainstream film industry was in serious trouble • With this problem at hand, a filmmaking practice wholly “independent” of mainstream emerged. Younger, innovative filmmakers began creating “serious” films . • new “golden age” in Philippine cinema
• Raymond Red: “revolution”: a phenomenon that will change not only the images that Filipinos see on the big screen, but even our very concept of cinema. It is an ongoing movement, a rebellion of sorts, against prevailing cinematic practices • With the advent of digital audio-video technology during the 90’s, the doors of cinema suddenly sprang open for young, aspiring filmmakers of all stripes • The main difference between mainstream and independent films is the production of such, one is cheaper than the other, which is more funded. • These films only spread through word of mouth and has less access to audience
• “independent” cinema is on the verge of exploding into national conscious ness. • Independent films carry themes not usually conveyed in the mainstream that the big production outfits have ignored them • Independent filmmakers are free to experiment and tackle “provocative” themes that producers would not touch with a 10-feet pole • Genuine “counter-cultural” cinema • Threatens dominant modes of filmic presentation, suffers from marginalization, threatens the privileged conventional film practitioner • Towards “truth-telling”
It is in independent filmmaking that we may well find the means to resuscitate the dying Philippine cinema
SANGLAAN The Pawnshop (2009) • Cinemalaya 2009 entry • This is the story of how the lives and difficulties of its characters revolve around a pawnshop. • “Kaya mo bang tubusin ang iyong sarili?”
• For a Filipino, the pawnshop is a place where he can get money but he has to sacrifice his valuables, either jewelry or cellphone and other things that could be valuable to him. In this film, the number of pawnshops along near Olivia’s panshop supports the idea that pawnshops are accepted in our society even if it would seem like an avenue to a wrong path. • In this movie, the pawnshop is a witness and the safety house for the valuables of each character, whether it be tangible or intangible. • One of the present realities presented in this film is how the soldiers who go to Mindanao leave their family with fear and anxiety if they will ever go back to their arms. But, in this case, the only thing that came back to Kanor and Esing is the TV that Jun-jun sent to them before he died.
• Amy, the pawnshop appraiser, lives a life of romantic pocket books and waiting for love to come but sadly, her high school crush who stays in the apartment above the pawnshop, David, doesn’t seem to notice her and her little sweet deeds. • David, a sea man, waits for another call from his agency for the next ship to sail. This is another reality that is materialized in this film. With his savings slowly slipping away, he had to pawn the only thing that his mother left him, the ring. Waiting until you need to sacrifice everything you have, even those that value the most. • Olivia, the owner, chooses to stay in the pawnshop that her husband left to her when he died instead of going to America with her children and grandchildren. She couldn’t leave the thing that she values the most, the spirit of her husband still lures the pawnshop and she can’t leave that.
• Kanor and Esing, Jun-jun’s parents, now suffer depression after getting the news of their son’s death. This led to Esing having a pneumonia and Kanor having to pawn the TV and sell his kidney. Suffering to the point that you have to sacrifice even those that value the most. • In the end, the pawnshop was robbed and everything gone. No matter how strong the bars that secure the pawnshop are, they are not strong enough to stop the scalpels and knifes used by robbers to get in. The safety house failed its job.
ANG PAGDADALAGA NI MAXIMO OLIVEROS (2005)
• An official entry for Cinemalaya 2005 • This is a story of how Maxi’s blossoming happened in a violent community but with a loving and protective family.
• Maxi’s being a homosexual in a family filled with ‘barakos’, might give us an impression that he is marginalized and unacceptable to the society he lives in and to his own family. But, ironically, Maxi is ‘needed’ and loved very much by his father and 2 older brothers, his very own protectors. He became a “mother” figure to the family by cooking for them, doing the laundry, sewing tattered clothes and even cleaning their tracks if needed. Homosexuality seems to be accepted, if not totally, by the slums of Manila presented in this film. • Victor Perez, a handsome and seemingly perfect police man, who, at first, shows a police man that has principle and is against corruption in the system. But, a new chief came and showed him that he isn’t one “totoong pulis” just yet. At first, he showed compassion to Maxi, but, in the end, he changed to the “totoong pulis” that he has been trying to fight off before: a corrupt and violent police man.
• The distinction between right and wrong seem to have become unclear to all of the characters. First they let the system stay, then question it and in the end either give up on changing it or input little changes that won’t even stay or matter in the future. One system might say that the other is wrong but in the end, both are actually wrong. • Maxi’s family grew and live as petty thieves. His father sells smuggled cellphones, his Kuya Boy and Kuya Bogs do some stealing and pickpocketing, Maxi’s a big fan of pirated DVDs. But, with or without these ‘flaws,’ the closeness and the love that runs within this family can never be doubted. The image of the Filipino family, even with such imperfections, is still something to be proud of.
“Hindi regla kundi luha ang hudyat ng pagdadalaga ni Maximo Oliveros. Namulat siya sa kanyang kabaklaan pati na rin sa sakit na dulot ng pagkabigo sa unang pag-ibig at hagupit ng malupit na buhay” – Ang Pagdadalaga ni Maximo, Rebyu ni Maureen Hermitanio
CAN PHILIPPINE CINEMA STILL BE SAVED? We can still save it if we start making the initiative of supporting our locally made movies instead of those movies imported from Hollywood.