Module 8: Popular Film and the Philippine Cinema PDF

**Module 8** I. **CONTENT and INPUT** ### Visual Pleasure and Film  a. The poor and innocent but sexually provocative-looking female protagonist who is easily persuaded by some manipulative male characters b. The poor and innocent female character as object of s...

**Module 8** I. **CONTENT and INPUT** ### Visual Pleasure and Film  a. The poor and innocent but sexually provocative-looking female protagonist who is easily persuaded by some manipulative male characters b. The poor and innocent female character as object of sexual desire of a male character (usually a rich old man) c. Female characters who work as prostitutes and have to wear short and skimpy outfits to attract male customers d. Female characters in 'bold films' showing the upper half of their bodies or a view of their buttocks Female characters who are made to kiss each other. ### History of Philippine Cinema The first postwar film was based on the story of Doña Aurora Quezon directed by the National Artist for Film, Manuel Conde and was featured in 1946. Movies as such during the postwar period portrayed the horrors of war but emphasized valor. In 1951, the first Filipino film in full color, "Prinsipe Amante", was directed and produced by the National Artist for Theater and Film, Lamberto V. Avellana. This film started the trend in adopting comics into the film medium. Eccentric costumes and film sets were also introduced. With this new aesthetic in film, the 1950s was known as the First Golden Age of Philippine Cinema. During this era, the Big Four of Philippine Cinema ruled the industry---LVN Pictures, Sampaguita Pictures, Premiere Productions, and Lebran International---which produced around 300 films annually. Since more films started to be produced during these times, the popularity of films also increased. Consequently, 'matinee idols', 'leading ladies', and 'love teams' also became popular. The Maria Clara Awards was also established in 1950 wherein publicists and writers vote for outstanding Filipino films annually. This paved the way for the establishment of the Filipino Academy of Movie Arts and Sciences in 1953. Now, it is more popularly referred to as the FAMAS. During the 1960s, themes on domestic affairs and infidelity became widespread. However, some film studios closed down due to labor concerns while others got burned down. Also, international films such as "James Bond" dominated the local scene due to extensive commercialism. Because of these, "bomba" or erotic films became rampantly produced in the country. The first "bomba" film in the local cinema was "Uhaw" which featured in 1970 Youth subcultures were explored as themes in films during the 1960s and 1970s and teen love teams were introduced such as Nora Aunor and Tirso Cruz III as well as Vilma Santos and Edgar Mortiz. Action movies which feature gangsters, secret agents, and "siga" male lead characters also flourished during this period. Hence, the National Artist for Cinema, Fernando Poe, Jr. became popular. Wholesome films which appeal to the masses were introduced by Ishmael Bernal and Lino Brocka. Brocka's debut film in 1970, "Wanted: Perfect Mother" and Bernal's "Pagdating sa Dulo" (1971) were opposed to "bomba" films as their themes geared on family issues and power play in the show business. In 1972, the country was placed under Martial Law and films during this time were used as propaganda and social and moral commentaries. This eventually led to the avant-garde filmmakers including Bernal and Brocka, Celso Ad Castillo, Mike De Leon, and Mario O'Hara. Their works paved the way for the Second Golden Age of Philippine Cinema. The Second Golden Age continued until the 1980s. Some of the notable filmmakers during this time include Peque Gallaga, Kidlat Tahimik (the Father of Independent Philippine Cinema), Nick Deocampo, Marilou Diaz-Abaya, and Raymond Red. However, the 1980s also witnessed the gradual rise of commercial films, following the Marcos dictatorship, which feature slapstick comedy, melodrama, and fantasy. These films somehow served to alleviate the horrors and anxiety from the Marcos regime. Some films that became popular were "Bagets" (1984), "Shake, Rattle, and Roll" (1984), and "Bituing Walang Ningning" (1985). However, amidst this trend, Ishmael Bernal's "Himala" (1982) still gained local and international recognitions. During the 1990s, Star Cinema, GMA Films, VIVA Films, and Regal Entertainment started producing films that appeal to the general masses. Sensationalism, overemphasis on emotions, and stylized Manila poverty became the formula. "Bomba" films also resurged in the '90s. Box-office films also flourished alongside independent films during the late 2000s up to the present times. One notable characteristic of film production nowadays is the continuous crossing over of artists from independent to commercial films and vice versa. New directors became household names in Philippine cinema such as Antoinette Jadaone, Jason Paul Laxamana, Dan Villegas, Cathy Garcia-Molina, Jerrold Tarog, Mikhail Red, Pepe Diokno, and Sigrid Andrea Bernardo. Strong female lead characters prospered in films today such as Anne Curtis in "Buy Bust" (2018) and Jaclyn Jose in "Ma'Rosa" (2016). ### Popular Film Versus Alternative Film -- -- -- -- ### Contexts of Philippine Popular Films "Kung Bakit Lagi Kong Pinapanuod ang mga Pelikula ni Sharon Cuneta" ------------------------------------------------------------------- Joi Barrios