Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


PHILIPPINE CINEMA and SOCIETY: Industry and Audience

No description

Ice Cruz

on 14 August 2013

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of PHILIPPINE CINEMA and SOCIETY: Industry and Audience

Eunice Valerie P. Cruz, SDA Faculty
SY 2012-2013

Industry & Audience

finals: August 30, 2012
Film Text
Industrial Structure
(in the context of history, society
and culture)
To map out the connections between Philippine
Cinema and it's social context is to locate the grids across which cinema gains emergence and presence in Philippine society.
1. The Cinematic Encounter: Beginnings and Transformations (1897-1900)

- Two days after Rizal was shot, the first films to come to the Philippines had begun to unreel in a small projection house in downtown Escolta, Manila (Salon Pertierra Theater).

- Showing short documentaries of banal scenes from the Gaumont Chronophotograph
Industry and Audience
- Two years later, Filipino businessman Antonio Ramos brought in Lumiere's cinematograph (SINE) and showed films under Swiss merchants Leibman and Peritz.

- This cinematic encounter shows that Philippine cinematic history begins with short films.

- It is unfortunate that not much space is devoted to Philippine short film tradition in history ; when we speak of Philippine Cinema, it should not be made to refer only to mainstream cinema.
Ethnographic films
- cockfights to processions, gold mining, construction of Manila Hotel - were made about the Philippines.
2. Cinema as Colonial Technology (1900-1915)
- These films did not so much describe the Philippines as project a sense of progress in the hands of American rulers.
- anti- Spanish films were shown and produced by businessmen

- It is also during this period when 3 important aspects of filmmaking would take root:
censorship, imposition of government taxes
international distribution
3. Cinema as Hollywood Industry (1916-1940)
- As the public settled into place, mainly in Manila and Cebu, and watching movies became a way of life, an industry which would cater to a new taste for film had to rise.

- Philippine Cinema stood at the intersections of colonial theater and Hollywood, elitist resistance and a growing film public, folk traditions and foreign technology.

- Notions of
Star System
would gradually take over the industry
- Filipino film pioneers, mostly from the mestizo class sustained their enterprises with capital amassed from agriculture industry - Jose Nepomuceno put up Malayan Pictures (1917); V. Salumbides - Salumbides Corp. (1927); Julian Manansala - Banahaw Pictures (1929).

- The first Filipino film was shown in 1919. Nepomuceno's
"Dalagang Bukid"
was a sarswela starring Atang dela Rama.
- The Japanese Occupation made the industry realize that cinema as a social institution had power, seen by the State as a potent medium which must be reined in through censorship and unleashed through propaganda.

- The Japanese clamped down on movie production

- Film production ground to a halt and enterntainment shifted to _________________ and the Japanese drew up strict censorship guidelines.
4. Cinema as Nostalgia for Nation (1941-1960)
: revolving around Japanese atrocities,
the celebration of Yankee liberation and
guerrilla struggle, this type of narrative could
have only betrayed the political interests
of film.
- Post war reconstruction: gripped by nostalgia for
nation, a sense of mourning for the things lost in war.
*such bereavement sharpened the creative instincts of

First Golden Age
: time when Philippines was
starting to be recognized as a film capital, both
Asian and world cinema
Gerardo de Leon, Manuel Silos,
Gregorio Fernandez, Manuel Conde,
Lamberto Avellana
* But later, Golden Age began to tarnish, the studio system, managed by kinship networks, would be beset by almost insurmountable problems:

1. labor
2. rising of technology
3. fires which gutted installations
*Studios continued to hold sway: The Big
Three ruled the realm (LVN - comedy &
musicals, Narcisa de Leon, Sampaguita
- melodramas)
- Absence of system which coordinated a program of sound film entertaiment fare, film trends abroad flooded the market
5. Cinema as Social Decadence and Dissent
spaghetti westerns, detective films, sex flicks, kung-fu pictures, etc.
- Hollywood and Third World imitations
- Bomba genre flourished
- Imelda Marcos' Experimental Cinema of the
Philippines and Manila International Film
Festivals, sowed their own seeds

- Documentary, feature, experimental, animation, docu
drama, etc.

- Kidlat Tahimik and Nick DeOcampo

- Mainstream directors gained recognition abroad: Lino Brocka, Mike de Leon, Ishmael Bernal
Full transcript