History of Philippine Cinema Essay

A. The Golden progress of Philippine FilmsThe 1950s were considered a time of rebuilding and growth. unless remnants from the preceding decade of the 40s remained in the form of war-induced reality. This is seen is Lamberto Avellanas Anak Dalita (The Ruins, 1956), the stark disaster of post-WWII survival set in Intramuros. The decade proverb frenetic drill in the take aim manufacture which yielded what might be regarded as the start harvest of distinguished picture shows by Filipinos. Two studios before the war, namely Sampaguita Pictures and LVN, reestablished themselves. rattling back quickly, they churned out celluloid after picture to make up for the drought of films caused by the war. close to other studio, premiere Productions, was earning a reputation for the cipher and the freshness of some of its films. This was the period of the Big Four when the industry operated at a lower place the studio system. Each studio (Sampaguita, LVN, Premiere and Lebran) had its ow n set of stars, technicians and developors, all told lined up for a sequence of movie after movie every year therefore maintaining a monopoly of the industry. The system assured moviegoers a variety of fare for a whole year and allowed stars and directors to improve their skills. ingest more Essay About Philippine CinemaCritics now finish up that the 50s may be considered one Golden Age for the Filipino film not because film content had improved but because cinematic techniques achieved an aesthetical breakthrough in that decade. This sassy consciousness was further developed by local and international awards that were established in that decade.Awards were initiative instituted that decade. First, the Manila time Publishing Co. set up the Maria Clara Awards. In 1952, the FAMAS (Filipino Academy of mental picture Arts and Sciences) Awards were handed out. More so, Filipino films started garnering awards in international film festivals. One such honor was bestowed on Manuel C ondes immortal movie Genghis Khan (1952) when it was accepted for harboring at the Venice Film Festival. Other honors take on awards for movies like Gerardo de Leons Ifugao (1954) and Lamberto Avellanas Anak Dalita. This established the Philippines as a major filmmaking center in Asia. These awards also had the effect of finally garnering for Filipino films their piece of attention from fellow Filipinos.B. The Decline of Philippine FilmIf the 1950s were an omnipresent period for film, the decade that followed was a time of decline. There was rampant mercantile system and artistic decline as portrayed on the followingIn the mid-sixties, the foreign films that were raking in a lot of income were performance pictures sensationalizing violence and cottony core sex films hitherto banned from Philippine theater screens, Italian spaghetti Westerns, American James Bond-type thrillers, Chinese/Japanese martial arts films and European sex melodramas. Toget an audience to watch their f ilms, (the independent) producers had to take their cue from these imports. The number is a plethora of filmsgiving rise to such curiosities as Filipino samurai and kung fu masters, Filipino James Bonds andthe bomba queen.The studio systems came chthonian siege from the growing promote movement which resulted in labor-management conflicts. The first studio to underweight was Lebran followed by Premiere Productions. Next came Sampaguita and LVN. The Big Four studios were replaced by new and independent producers who curtly made up the rest of the film industry.The decade also saw the emergence of the youth rebellion best represented by the Beatles and the argument and roll revolution. They embodied the wanting to rebel against adult institutions and establishments. Certain new film genres were conceived just to cater to this revolt.Fan movies such as those of the Tita and Pancho and Nida and Nestor romantic pairings of the 50s were the forerunners of a new change of revolutio n the teenaged love team revolution. Nora Aunor and Vilma Santos, along with Tirso Cruz III and Eddie Mortiz as their respective screen sweethearts, were callow performers during the heyday of fan movies. Young audiences made up of instant partisans for Guy and Pip or Vi and Bot were in search of business office models who could take the place of elders the youth revolt had taught them to distrustAnother kind of youth revolt came in the form of the child star. Roberta (1951) of Sampaguita Pictures was the phenomenal employment of the drawing office of movies featuring these child stars. In the 60s this seemed to imply rejection of adult degeneracy as exposed by childhood innocence.The film genres of the time were direct reflections of the disaffection with the lieu quo at the time. Action movies with Pinoy cowboys and secret agents as the movers of the plots show a purchase order ravaged by criminality and corruption . Movies organism make-believe worlds at times connect th at make-believe with the social realities.These movies advise a search for heroes capable of delivering us from hated bureaucrats, warlords and villains of our society. The action films of the 1960s brought into the industry a new savage rhythm that made primarily action films seem polite and stage managed. The pacing of the new action films were fast as the narrative had been pared down to the very minimum of dialogues. And in keeping up with the Hollywood tradition, the action sequences were even more realistic.Another film genre that is perhaps also a embodiment of the revolt of the time is the bomba genre. Probably the most notorious of all, this genre appeared at the close of the decade. Interestingly, it came at a time when social movement became acknowledged beyond the walls of campuses and of Manila.In rallies, demonstrations and other forms of mass action, the national democratic movement presented its compendium of the problems of Philippine society and posited that on ly a social revolution could figure out genuine change. The bomba film was a direct challenge to the conventions and the norms of conduct of status quo, a rejection of authority of institutions in regulating the life urge seen as natural and its free expression honest and therapeuticLooking beyond the obvious reasons as to the emergence of the bomba film, both as being an consumptive product of a profit-driven industry and as being a input signal, it can be analyzed as actually being a subversive genre, playing up to the establishment while rebelling and undermining assist for the institutions.Even in the period of decline, genius has a way of show itself. Several Philippine films that stood out in this particular era were Gerardo de Leons Noli Me Tangere (Touch me Not, 1961) and El Filibusterismo (Subversion, 1962). Two other films by Gerardo de Leon made during this period is outlay mentioning Huwag mo Akong Limutin (Never Forget Me , 1960) and Kadenang Putik (Chain of Mud, 1960), both tales of marital infidelity but told with penetration and cinematic import.C. Films during Martial LawIn the 60s, the youth clamored for change in the status quo. Being in power, Ferdinand Marcos answered the youth by placing the nation under martial rule.In 1972, he sought to contain growing tempestuousness which the youth revolt of the 1960s fueled. Claiming that all he wanted was to execute the Republic, Marcos retooled the liberal-democratic political system into an authoritarian government which concentrated power in a dictators hand. To win the population over, mass media was enlisted in the supporter of the New Society. Film was a key component of a society wracked with contradictions within the ruling class and between the sociopolitical elite and the masses.In call of comparisons, the Old Society (or the years before Martial Law) became the leading emblem for all things bad and repugnant. The New Society was supposed to represent everything wide-cut a n ew sense of discipline, uprightness and love of country Accordingly, the political theory of the New Society was incorporated into local films.Marcos and his technocrats sought to regulate filmmaking. The first step was to control the content of movies by insisting on some form of censorship. One of the first rules promulgated by the Board of Censors for dubiousness Pictures (BCMP) stipulated submission of a finished script prior to the start of filming. When the yearly film festival was revived, the censors blatantly insisted that the ideology of the New Society be incorporated into the content of the entries.The government tried to control the film industry while keeping it in good humor necessary so that the government could continue using film as propagandistic vehicles. So despite the censors, the exploitation of sex and violence onscreen continued to assert itself. under(a) martial law, action films depicting shoot outs and sadistic fistfights ( which were as cerise as ev er) usually append to the ending an epilogue claiming that the social realities envisioned had been wiped out with the establishment of the New Society. The notorious genre of sex or bomba films that appeared in the preceding decade were now tagged as heroic films, simply meaning that a lot more care was inclined to the costumes.Martial Law declared in 1972 clamped down on bomba films as well as political movies critical of the Marcos administration. But the audiences taste for sex and nudity had already been whetted. Producers cashed in on the new type of bomba, which showed female stars swimming in their underwear, taking a bath in their camison (chemise), or being chased and raped in a river, sea, or under a waterfall. Such movies were called the wet face