Philippine Popular Culture

PHILIPPINE FILMS
UNDERSTANDING CINEMA,
FILMS AND MOVIES
BRUCE BISBEY
 UNDERSTANDING CINEMA, FILMS AND MOVIES

What is the difference between a

film, a movie or cinema?

“Movies” vs. “Cinema” vs. “Theater”

— what's the difference?
 UNDERSTANDING CINEMA, FILMS AND MOVIES

 Movies is slang for a motion picture.

 Film is the medium on which motion pictures are fixed.
 Cinema is from the French cinématographe which comes in
part from the greek kinema, meaning movement. So, cinema
is really just another word meaning moving picture. It also
has come to mean more generally the process of film-making
and also the building where films are shown.
 Theater is similar to cinema, in that it can mean the
building, or more generally the industry of live performance
(i.e. plays, musicals, etc.).
 UNDERSTANDING CINEMA, FILMS AND MOVIES

CINEMA

 Cinema is for a theater where movies are shown for public

entertainment; a movie theater. 1a: motion picture —usually used
attributively. 1b: a motion-picture theater. 2a: movies especially: the
film industry. 2b: the art or technique of making motion pictures.

 Cinema = It is referred to the entire film industry, as well as the place

designed for the exhibition of movies, films, etc. It is considered as an
art form of the movie making business. It is based on the process of
movie or film making, editing, script-writing, set designing, etc.
 UNDERSTANDING CINEMA, FILMS AND MOVIES

MOVIES

A movie is more concerned with plot and easy

answers. A film attempts to convey or explore
something larger than itself. A movie is about giving
the audience exactly what they want. A film forces the
audience to grow in some way, to leave the theater
slightly better humans than when they came in.
 UNDERSTANDING CINEMA, FILMS AND MOVIES

MOVIES

 Movie is short for moving picture (or motion picture),

and can refer both to a single show and to the film
industry (when in the plural form, the movies).
 Movie = Moving picture; also, a moving-picture show; a
cinema; pl. (freq. the movies), motion pictures as an
industry, an art-form, or a form of entertainment; a
cinema or a cinema-show.
 UNDERSTANDING CINEMA, FILMS AND MOVIES

FILMS

 Film obviously derives from the fact that the images were/are
impressed on a roll film (not for digital cameras of course).
 Film = A cinematographic representation of a story, drama, episode,
event, etc.; a cinema performance; pl. the cinema, the ‘pictures’, the
movies.
 A feature film, feature-length film, or theatrical film is a film (also
called a motion picture or movie) with a running time long enough to
be considered the principal or sole film to fill a program. ... Most
feature films are between 75 and 210 minutes long.
10 Of The Most Iconic Films That
Shaped Philippine Cinema: Magnifico,
Buy Bust, And More
FRANZ SORILLA IV
 1919-1929 | “Dalagang Bukid”

The film medium came to Philippine shores as early as the

late 19th Century prior to the revolution years, and was
called "cinematografo". Later during the American period,
Filipinos started to find newsreels and silent films as a new
platform of regular entertainment as the said medium
slowly gained popularity. But it was only in 1917 when a
Filipino built a motion picture company and released in
1919 what would be considered as the first Filipino-
produced and written film.
 1919-1929 | “Dalagang Bukid”
Dalagang Bukid (Farm Girl), is a silent film directed
and produced by José Nepomuceno, the Father of
Philippine Cinema. It was based on
a zarzuela written by Hermogenes Ilagan, about a
young flower vendor named Angelita forced by her
parents to marry a wealthy old man, Don Silvestre,
despite her love for Cipriano, a law student. The film
was officially released on September 12, 1919 with
English, Spanish, and Tagalog subtitles.
 1929-1939 | “Punyal na Guinto”
 Another classic masterpiece from Nepomuceno was Punyal na
Guinto (Golden Dagger), which is considered as the first "talkie" in the
country. It premiered on March 9, 1933 at the Lyric Theatre. However,
Nepomuceno was midway to finishing the film when American duo
Harris and Tait offered their machines to add sound into the film. This
made the character of the Golden Dagger to speak (in Tagalog) halfway
through the film.
 At the time, Tagalog was not yet the lingua franca across the country,
as it is only widely used in Metro Manila. And so the question of what
dialect should be used when the film premieres in other regions was
raised. Nevertheless, Nepomuceno sticked to the original material (the
novel by Antonio Sempio) of which the film was based and thus used
Tagalog.
 1939-1949 | “Orasang Ginto”
 The primitive technology of hand colouring was first practiced in local
Filipino films with Ibong Adarna of LVN Pictures in 1941. But it was in
their movie Batalyon XIII (1949) where LVN Pictures introduced
colour processing using Ansco film.
 The films in the 1940s were marked either as propaganda of the
Japanese regime or independent commercial films, focusing mainly on
war and heroism. Eventually post-war films carried this, highlighting
raw emotions and patriotism. The first post-war Filipino movie was
directed by Manuel Conde (National Artist for Film) and was based on
the story by Doña Aurora Quezon. It retells the Filipino tragedies and
miseries during and after the war. It was shown on March 4 to 13, 1946
at Zest Theatre and starred Mila Del Sol, Elvira Reyes, and Rodrigo
Danao. Similarly, post-war films portrayed the horrors of war but in an
attempt to uplift the spirits of the people by highlighting heroism.
 1949-1959 | “Prinsipe Amante”
 In 1951, the first Filipino-produced full-colour film
was Prinsipe Amante, directed by National Artist for
Theatre and Film Lamberto V. Avellana. This marked also
the prevalent adaptation of Filipino comics into films,
which implied more outlandish costumes and set designs.
With such high artistic values, the '50s was dubbed as the
First Golden Age of Philippine Cinema, where epic films
like Conde's Genghis Khan (1950) competed at the Venice
International Film Festival.
 1949-1959 | “Prinsipe Amante”
 At the time, four big production studios ruled the
industry: LVN Pictures, Sampaguita Pictures, Premiere
Productions, and Lebran International. About 300 films
per year were made during this period, helmed by the
era's greatest filmmakers namely Avellana, Conde,
Gerardo de Leon (National Artist for Cinema), Eddie
Romero (National Artist for Cinema and Broadcast Arts),
and Cirio Santiago, to name a few.
 1949-1959 | “Prinsipe Amante”
 With the movie industry at its peak, so was the popularity
of the film stars. The concepts of "matinee idol", "leading
lady", and "love team" were then romanticised at this
decade and shaped as to how we know it today.
Household names like Rogelio de la Rosa, Nestor de Villa,
Nida Blanca, Dolphy, Eddie Garcia, Lolita Rodriguez,
Gloria Romero, Paraluman, Pugo, Dely Atayatayan,
Chiquito, Rosa del Rosario, Rosa Rosal, and Anita Linda,
to name a few, rose to fame at this time.
 1949-1959 | “Prinsipe Amante”
 Manila Times gave birth to the Maria Clara Awards in
1950, where film publicists and writers vote for the
exemplary achievements of Filipino motion pictures in a
year. This gave way to the establishment of the Filipino
Academy of Movie Arts and Sciences in 1953, which is
more popularly known as FAMAS.
 1949-1959 | “Prinsipe Amante”
 Other notable films during the decade:
• 48 Oras (1950)
• Sisa (1951)
• Sawa sa Lumang Simboryo (1952)
• Sanda Wong (1955)
• Biyaya ng Lupa (1959)
 1959-1972 | “Uhaw”
 Infidelity, domestic affairs, and other similar themes that put
contemporary life under the lens were prevalent at the onset of the
'60s. But due to unfortunate circumstances, major studios closed as
they faced labour issues and some got burned down. Moreover, there
was rampant commercialism that led big franchise films like James
Bond to dominate the local theatres.

 This paved way to the so-called "bomba" (erotic) films produced by

independent film houses. The first of such was "Uhaw" (Thirst) that
premiered in 1970. Although it was a blockbuster hit of the time, it
suffered from poor production quality, including scrreenwriting and
technical aspects.
 1959-1972 | “Uhaw”
 The '60s and early '70s also saw the emergence of musicals and films
focusing on the youth subculture. Teen love team-ups were born at this
period spearheaded by Nora Aunor and Tirso Cruz III as well as Vilma
Santos and Edgar Mortiz.

 Meanwhile, action movies featuring gangsters, secret agents, and

strong male lead characters that epitomised the "siga" (Robin Hood-
like, macho) character gained popularity at this period. Here, the
messenger boy and stuntman-turned-actor and director in the '50s
Fernando Poe Jr (National Artist for Cinema) rose to stardom as he
started receiving acting awards for Mga Alabok ng
Lupa (1967), Asedillo (1971), and more.
 1959-1972 | “Uhaw”
 Other notable films during the decade:
• Huwag Mo Akong Limutin (1960)
• Kadenang Putik (1960)
• The Moises Padilla Story (1961)
• Noli Me Tangere and El Filibusterismo (Gerardo De
Leon, 1961 and 1962)
• Lilet (1971)
 Genre Breakers: "Pagdating Sa Dulo"
and "Wanted: Perfect Mother"
The pivotal turn of Philippine Cinema happened when Lino Brocka
and Ishmael Bernal courageously broke the norm and introduced
artistic films that are wholesome and would appeal to the masses.
Opposite Uhaw was Brocka's directorial debut, Wanted: Perfect
Mother (1970), that portrayed romance and family issues versus the
films that showed lust and illicit affairs. Bernal's directorial
debut Pagdating Sa Dulo (1971) was a satire on bomba films and
tackled about the vicious play of power in the show business
industry. With their historic first steps on Philippine Cinema, Bernal
and Brocka geared the industry to its Second Golden Age.
 1972-1979 | “Maynila sa mga Kuko ng Liwanag”

When the Philippines was placed under Martial Law

in 1972, films were used as propaganda vehicles and
Ferdinand Marcos created the Board of Censors for
Motion Pictures. Through this scheme, the ideology
of "Bagong Lipunan"—a new sense of discipline,
uprightness, and love of country—was incorporated
in all mass media.
 1972-1979 | “Maynila sa mga Kuko ng Liwanag”

This led to the emergence of avant-garde filmmakers that laid the foundation of
the Second Golden Age of Philippine Cinema. Lino Brocka (National Artist for
Cinema), Ishmael Bernal (National Artist for Cinema), Celso Ad Castillo, Mike
De Leon, and Mario O'Hara were the fearless filmmakers that shed light to the
realities of the atrocities during the period as well as the social issues prevalent
among the generation deceptively covered through metaphors and symbolisms.
Brocka's films like Insiang (1976), and Maynila Sa Mga Kuko Ng
Liwanag (1975), were social and moral commentaries of the period that gained
recognition even among international critics. Its realist portrayal of proletarian
metropolis, through sensual cinematography and fully-realised characters, has
breathed into the silver screen the lives of many naive provincianos that were
seduced by the "big city" like moths into a flame.
 1972-1979 | “Maynila sa mga Kuko ng Liwanag”

Moreover, filmmakers of the period introduced new

techniques and styles in filmmaking. French cinema
influences were apparent on the films of this period,
with more mobile and agile camerawork.
 1972-1979 | “Maynila sa mga Kuko ng Liwanag”

 Other notable films during the decade:

• Nunal sa Tubig (1975)

• Minsa'y Isang Gamu-gamo (1976)

• Jaguar (1979)

• Itim (1976)

• Tatlong Taong Walang Diyos (1976)

• Tinimbang Ka Ngunit Kulang (1974)

• Banaue: Stairway to the Sky (1975)

 1979-1989 | “Himala”
The Second Golden Age continued through the '80s,
featuring the plight of migrant workers, the proletariat, as
well as the affluent kolehiyalas (college girls). Notable
filmmakers of the previous decade, together with Peque
Gallaga, Kidlat Tahimik (the Father of Independent
Philippine Cinema), Nick Deocampo, Marilou Diaz-Abaya,
and Raymond Red contributed in this period.
 1979-1989 | “Himala”
But the second half of 1980s witnessed the gradual decrease of
artistically expressive films and the rise of commercial films with
genres ranging from slapstick comedy, melodrama, and fantasy that
somehow aimed at alleviating the masses from the financial and
political crisis that followed after the Marcos dictatorship. However,
a lot of cult classics arose in this period that continue to appeal to
today's generation like Bagets (1984), Shake, Rattle, & Roll (1984),
and Bituing Walang Ningning (1985).
 1979-1989 | “Himala”

Amid the dichotomy, Ishmael

Bernal's Himala (1982) starring the "Superstar"
Nora Aunor, gained local and international
acclaim (even up to this day) as a script and
technical achievement and also as a masterful
exhibition of impressive ensemble acting.
 1979-1989 | “Himala”
 Other notable films during the decade:
• Oro Plata Mata (1982)

• Manila By Night / City After Dark (1980)

• Karnal (1983)

• Sister Stella L. (1984)

• Orapronobis (1989)

• Bulaklak sa City Jail (1984)

 1989-1999 | “The Flor Contemplacion Story”

Star Cinema, GMA Films, VIVA Films, and Regal Entertainment

dominated the big screens in the '90s, producing back-to-back
blockbuster hits that appeal to the general masses. These films vary
in genres but mostly based on police news and telenovelas that have
made the people hooked on their televisions and radios at home.
Perhaps the perfect example of this was Joel Lamangan's The Flor
Contemplacion Story (1995), which depicted the Filipina domestic
helper of the same name who was hanged in Singapore for allegedly
killing her fellow OFW. Its dramatisation of real events, infusion of
television news clippings, and fictional or metaphorical depiction of
the characters' emotions are examples of directorial techniques
widely used in other popular films at the time.
1989-1999 | “The Flor Contemplacion Story”

Sensationalism, exaggeration of emotions and plot

twists, as well as stylised showcasing of the poverty-
stricken Manila seemed to be an effective formula
during the period. Sex and violence ruled the theatres
with action films and a resurgence of "bomba" films.
 1989-1999 | “The Flor Contemplacion Story”

 Other notable films during the decade:

• Bata, Bata... Paano Ka Ginawa? (1998)

• Jose Rizal (1998)

• Muro-Ami (1999)

• Gumapang Ka Sa Lusak (1990)

• Bayaning 3rd World (1999)

• Milagros (1997)
 1999-2009 | “Magnifico”
 The reign of independent cinema in the 2000s can be
credited to the success of Maryo J. De los Reyes' dramatic
independent film Magnifico (2003), which received local
and international acclaim most especially in the 2004
Berlin International Film Festival where it won the
Crystal Bear. Prior to this, Raymond Red's Anino (2000)
won the Palme d'Or at the Cannes Film Festival 2000.
With this, the decade saw the proliferation of digital films
by independent filmmakers that were submitted to
compete in international film festivals.
 1999-2009 | “Magnifico”
 Some low-budgeted films with exceptional
screenplays were also successful in the local
theatres like Gil Portes' Mga Munting Tinig (2002)
and Mark Meily's Crying Ladies (2003). These
films, as well as Magnifico, were praised for their
heart-wrenching storylines that seemed to flourish
during the decade.
 1999-2009 | “Magnifico”
 Other notable films during the decade:
• Batang West Side (2001)

• Ang Pagdadalaga ni Maximo Oliveros (2005)

• Serbis (2008)

• Kubrador (2006)

• Babae sa Breakwater (2003)

• Abakada... Ina (2001)

• Anak (2000)
 Honourable Mention: “Kinatay” (2009), “Norte, Hangganan ng
Kasaysayan” (2013), and “On The Job” (2013)

 Before we proceed to the succeeding decade, credit should be given first to these
three films that gave independent and mainstream cinemas 180-degree turn. As the
previous decade witnessed the international success of indie films, the craft was
mastered by late 2000s.
 Brillante Mendoza’s Kinatay (2009) premiered at the 62nd Cannes Film Festival
and gave Mendoza his Best Director Award. It was the first Filipino film in the said
prestigious festival that received such honour. The raw, edgy, and intense depiction
of Philippine underworld in Kinatay through a spectator’s lens, which initiate strong
responses among audiences brought forth films in the succeeding years who also
tried to break formulas.
 Similarly, Lav Diaz who is already known for his long film narratives (eight to
twelve-hour long films) started being appreciated by the general Filipino audience.
His Norte, Hangganan ng Kasaysayan (2013) explores themes of crime, class, and
family, and has received wide acclaim for its riveting storytelling and unique
cinematography.
 Honourable Mention: “Kinatay” (2009), “Norte, Hangganan ng
Kasaysayan” (2013), and “On The Job” (2013)

With Diaz and Mendoza’s works starting to appeal among young

Filipino cinephiles who crave for high-level of artistry, Erik
Matti’s On The Job (2013) became a blockbuster hit that made
critics and netizens talking. Its relevance to the current events,
stellar cast ensemble composed mainly of big mainstream names
like Piolo Pascual and Gerald Anderson, and its sleek action
sequences that have long been forgotten by Philippine cinema make
it somehow responsible for film productions’ initiative to step up
their game. This launched another form of independent cinema,
which are low-budgeted films that are highly aesthetic and feature
household names in the show business.
 2009-2019 | “BuyBust”

Box-office films became the trend in the local cinema since 2009's You
Changed My Life, which starred Sarah Geronimo and John Lloyd Cruz.
However, the success of commercial films from major film productions was
not a hindrance for the independent films to flourish. On the contrary, many
mainstream actors and directors continuously crossover to independent
cinema, and vice versa. The works of Lav Diaz, Brillante Mendoza, and Kidlat
Tahimik gained recognition and success among local and international
audiences. Meanwhile, a new breed of filmmakers like Antoinette Jadaone,
Jason Paul Laxamana, Dan Villegas, Cathy Garcia-Molina, Jerrold Tarog,
Mikhail Red, Pepe Diokno, and Sigrid Andrea Bernardo, to name a few also
caught the industry's attention.
 2009-2019 | “BuyBust”

The 2018 action thriller BuyBust, directed by Erik Matti and top-billed
by Anne Curtis, premiered at the New York Asian Film Festival and
opened the 14th Cinemalaya Independent Film Festival. It has attained
praise for its exhilarating action sequences, noir cinematography,
musical scoring, and Anne Curtis' relentless portrayal, making it the
2019 Gawad Urian Awards winner for Best Film. With Jaclyn Jose’s
recent winning as Best Actress for Mendoza’s Ma’ Rosa (2016) in the
2016 Cannes Film Festival and now with Curtis, the decade saw not only
the resurgence of strong female lead characters in films but also the
reimagining of its archetype.
 2009-2019 | “BuyBust”

 Buybust, as well as other notable films of the decade provide

perspectives on relevant issues and current events like the
ravages of Typhoon Yolanda, gender inequality, war on drugs,
the continuous series of rido (clan wars) in Mindanao, fund scam
on religious sects, and many more.
 With this, it is with high hopes that the next decade will produce
similar highly aesthetic films with Hollywood-esque visual effects
and action sequences, highlighting still Filipino consciousness,
virtues, and culture.
 2009-2019 | “BuyBust”

 Other notable films during the decade:

• Women of the Weeping River (2016)

• Balangiga: Howling Wilderness (2018)

• Taklub (2015)

• Honor Thy Father (2015)

• Thy Womb (2012)

• Heneral Luna (2015) and Goyo: Ang Batang Heneral (2018)