Professional Documents
Culture Documents
Spanish - Japanese Colonization
Spanish - Japanese Colonization
- include 30 films
• By 1915, the best films of both Europe and U.S. were being enjoyed
by Filipino audiences in Manila and the Provinces
Three other parts, the first of which was what Maslog calls
the Dominance of Documentary, in turn dominated this era.
Indeed, American filmmakers went to the Philippines to shoot
local scenes and events such as Eruption of the Taal
Volcano in 1911, fiestas at the Obando, or trade at Binondo.
Foreign documentaries were also commonly shown in small
parts of the city. Documentaries such as those that narrated
the life of Napoleon or the assassination of President
McKinley. These were usually accompanied by an orchestra.
Manila, Queen of the Pacific Manila – Castillan Memoirs
(1938)
The second part of the Silent Picture Era is the Rise of
Feature Films. La Vida de Rizal is the country’s first feature
film, directed and produced by the American Harry Brown,
and based on a popular stage play by Edward Meyer
Gross. It starred the original saruswela actors, including the
playwright’s wife Titay Molina-Gross, who managed the
dramatic troupe from which the stars of this film were from.
El Fusilamiento de Rizal was a competing feature film,
produced by another American Albert Yearsley.
In 1917, brothers Jose and Jesus Nepomuceno sensed this,
and thus founded the film company Malayan Movies, which
had the self-proclaimed goal of adapting the current movie
industry “to the conditions and tastes of the country.” This was
obviously in reaction to foreign movies which were
Americanizing Filipino tastes. With this, in 1919 Jose
Nepomuceno produced the first Filipino made film—Dalagang
Bukid, another sarsuwela adaptation. Nepomuceno would go
on and produce many films since such as La Venganza de
Don Silvestre (1920), Noli Me Tangere (1930), and Makata at
Paraluman (1933).
Dalagang Bukid (1919)
Talking Pictures Era (1929 to 1970)
In 1929, George P. Musser produced the first Filipino talking
picture, Ang Asuwang, just two years after the first “talkie” or
talking picture was shown in the U.S. And in the following
decade, the 1930s, Jose Nepomuceno made the first
complete Filipino talking picture, Punyal na Ginto. The film
was actually based on a Liwayway novel by Antonio Sempio,
and was produced with help from Harris and Tait (of Filipino
Films). They were able to help Nepomuceno bring in
American technicians and sound cameras to the Philippines.
Takip-Silim (1939) Tampuhan (1941)
Just like the previous era, the Talking Pictures Era has its own divisions,
the first of which Maslog called the Rise of Commercial Film Companies.
Indeed, as many saw the big business potential of film, it was slowly but
surely transformed from a small art form into a big industry with a short
span of time. In 1937, Sampaguita and Excelsoir Pictures were
established. In 1938, LVN Pictures, and in 1939 X’otic Films. By 1941, the
big companies had their own studio lots and production facilities. Just like
the previous era, the Talking Pictures Era has its own divisions, the first of
which Maslog called the Rise of Commercial Film Companies. Indeed, as
many saw the big business potential of film, it was slowly but surely
transformed from a small art form into a big industry with a short span of
time. In 1937, Sampaguita and Excelsoir Pictures were established. In
1938, LVN Pictures, and in 1939 X’otic Films. By 1941, the big companies
had their own studio lots and production facilities.
Another division of this era was the Commercialization of
Film, which immediately followed the previous division. This
saw the rise of the “star system.” Instead of hiring actors
based on merit, film companies usually chose their actors
based on their appeal (charming and glamorous) and looks
(most resembled American actors and were mestizahin). It
followed the Hollywood practice of building up stars. These
growing film companies tended to focus on marketable faces
and stories, mostly of love. Actors were usually coupled in
many films to produce fanfare and a loyal following, such as
in the case of Norma Blancaflor and Jaime Dela Rosa or
Rogelio dela Rosa and Rosa del Rosario.
Norma Blancaflor and Jaime Dela
Rogelio dela Rosa and Rosa del Rosario
Rosa
JAPANESE ERA
1940’s
• In 1941, the Japanese put a halt to film activity and used
the film equipment for their propaganda needs.
• They also brought their own films to show to the Filipinos
but failed to appeal to audiences the same way the
Hollywood-made or the locally-made films did.
• Japanese propaganda offices hired several local film
makers to make propaganda pictures for them.One of
these film makers was GERARDO De LEON
1940’s
Film making was used for propaganda works:
1. Garrison 13 (1946)
2. Dugo ng Bayan (1946)
3. Walang Kamatayan (1946)
4. Guerilyera (1946)
told the people the stories they wanted to hear: the heroes and
villains of the war.