Exploring Philippine Cinema
Part 1:
Beller, Jonathan L. “Orapronobis Against Philippine Totalitarianism.” Geopolitics of the Visible: Essays on Philippine Film Cultures, Ateneo de Manila University Press, 2000, pp. 13-34.
This section of Geopolitics of the Visible touches upon various topics regarding the era surrounding martial law in the Philippines. Beller mainly reflects upon Lino Brocka’s Orapronobis, as the film critiques Philippine leadership. Analyzing the reception it received allows for Beller to discuss how totalitarianism affects Philippine cinema as censorship was heavily involved in various films of the time. The article mainly focuses on Orapronobis, and lightly touches upon other films from the era.
Bottomore, Stephen. “I Was Born, but . . .: Some Thoughts on the Origins of Cinema in Asia.” Early Cinema in Asia, Indiana University Press, 2017, pp. 278-284.
This article discusses the early days of Asian cinema, highlighting the significant role foreigners played in developing the film industry in the region. Bottomore presents the contributions of foreign pioneers whose work laid the foundation for Asian cinema. He uncovers a rich history of cinema production in countries such as Indonesia, India, and Vietnam before the 1920s. By acknowledging the presence of these countries’ contributions in film, Bottomore emphasizes its influence on the continent’s cinematic heritage. This article informs the reader of a broader scope of the cinematic studies of a region.
Brocka, Lino, director. Maynila, sa mga Kuko ng Liwanag [Manila in the Claws of Light]. 1975.
Cajayon, Gene, director. The Debut. 5 Card Productions, 2000.
Capino, José B. Dream Factories of a Former Colony: American Fantasies, Philippine Cinema. University of Minnesota Press, 2010.
This book covers various topics relating to the influence of American colonialism on Philippine cinema. Its sections feature analyses of various Filipino films, each making a statement about an aspect of American imperialism. Capino discusses Filipinos’ transnational ideals, and how the idea of the American dream has been depicted multiple times in Philippine films. He also covers the way in which Philippine films began to cater their storylines to what they imagined American audiences wanted. This book provides an insight into the amount of influence American colonialism has on Philippine cinema.
Capino, José B. “Manila in the Claws of Light: A Proletarian Inferno.” The Criterion Collection, 12 June 2018, https://www.criterion.com/current/posts/5741-manila-in-the-claws-of-light-a-proletarian-inferno.
This article delves into the impact of Lino Brocka’s Maynila sa mga Kuko ng Liwanag (Manila in the Claws of Light), on Philippine cinema and society. It explores the film’s portrayal of the gritty realities of urban life under the Marcos regime, juxtaposed with moments of stylized and allegorical storytelling. Brocka’s approach to handling multiple political and personal tensions adds layers of complexity to the narrative. Capino also showcases Brocka’s ability to navigate the constraints of a dictatorship by mentioning the film’s approval by censors despite its critical stance on social issues.
David, Joel. “Philippine Film History as Postcolonial Discourse.” Geopolitics of the Visible: Essays on Philippine Film Cultures, Ateneo de Manila University Press, 2000, pp. 3-12.
David’s article discusses the ways in which postcolonialism has influenced Philippine cinema. He uses theories of French philosopher Michel Foucault in order to develop his conclusions. This may cause a few readers who are unfamiliar with Foucault’s ideas to be less engaged with the arguments being made. David lists various areas of interests within Philippine cinema, providing insight into Philippine postcolonialism.
Deocampo, Nick. “Cinema and Colonization: American Colonization and the Rise of Cinema in the Philippines.” Comparative American studies, vol. 5, no. 2, 2007, pp. 147-171.
This source connects American imperialism with the rising film industry in the Philippines during the late 19th and early 20th centuries. Deocampo delves into how early American cinema depicted the Philippines and its people, as he analyzes the power dynamics and colonial ideologies presented in the films of the era. This article examines the significance of film and a wide range of records from 1898-1904 as it shapes the perceptions of the Philippines during and after U.S. colonization. Deocampo mentions how the films of the era reproduced U.S. imperialist ideologies and spread imperialist fantasies as commodities.
Deocampo, Nick. “Colonial Beginnings of Cinema in the Philippines.” Early Cinema in Asia, Indiana University Press, 2017, pp. 221-239.
This section of Early Cinema in Asia explores the formative years of cinema in the Philippines, closely intertwined with significant historical events. It delves into the period coinciding with the decline of Spanish rule, the birth of the Filipino nation, and the emergence of American imperialism. The chapter explains how cinema emerged during these events, and how it mirrored the historical conditions shaping the destiny of the developing nation-state. He provides a comprehensive understanding of how key historical events influenced the growth and identity of cinema in the Philippines.
Escober, Enzo. “Why authenticity matters in 'Maynila sa mga Kuko ng Liwanag.'” Esquire Philippines, 15 October 2018, https://www.esquiremag.ph/culture/movies-and-tv/maynila-sa-kuko-ng-liwanag-a00203-20181015-lfrm.
This article highlights the film Maynila sa mga Kuko ng Liwanag (Manila in the Claws of Light) as one of the greatest works of Philippine cinema. The article provides an account from director, Lino Brocka, as he explains his thought process over decisions he made during the development of the film. Brocka mentions how he prefers not to use extras in his films, hiring people from the location in which the film takes place for a more natural sense. The article touches upon the film’s political critique toward the Marcos dictatorship and the “New Society”. The New Society neglected the poor, and caused an increasing poverty rate in Manila alone.
Gallardo, Cesar, director. Ito ang Pilipino [This is Filipino]. Emar Pictures, 1966.
Gier, Jean Vengua. “The Filipino Presence in Hollywood's Bataan Films.” Geopolitics of the Visible: Essays on Philippine Film Cultures, Ateneo de Manila University Press, 2000, pp. 35-57.
Gier shines light on the ways in which American cinema has utilized its influence to craft Americans’ perception of Filipinos, especially during the events of World War II. Gier mentions how Hollywood war films of the 1940s have also exploited Filipinos’ interest in American culture, leading them toward a desire for alliance. He introduces the American film, Bataan (1943), which follows a group of American-led soldiers in the Bataan Peninsula during World War II, and its “unplanned sequel”, Back to Bataan (1945), which play a key role in positively shifting the attitudes of Americans toward Filipinos. Gier concludes by encouraging the creation of more radical cinema in the Filipino community.
Lamasan, Olivia M., director. Sana Maulit Muli [Hopefully, Once More]. ABS-CBN Film Productions, 1995.
Llana, Neill Dela, and Ian Gamazon, directors. Cavite. Gorilla Films, 2005.
Musser, Charles. “Nationalism, Contradiction, and Identity; or, A Reconsideration of Early Cinema in the Philippines.” Early Cinema in Asia, Indiana University Press, 2017, pp. 71-109.
This article discusses the intricate relationship between nationalism, contradictions, and identity in the context of early Filipino cinema’s development. This section offers a perspective on the intersection of national identity and cinematic representation. Musser provides insights into the role of cinema in shaping Filipino identity during a period of significant social and political change by exploring early film practices and cultural influences. The section not only contributes to the understanding of Filipino cinema but also prompts broader reflections on the complexities of early Asian cinema.
Portes, Gil M., director. 'Merika. Adrian Films, 1984.
Pulido, Rod, director. The Flip Side. Pure Pinoy, 2001.
Quirino, Joe. Don Jose and the Early Philippine Cinema. Phoenix Publishing House, 1983.
This book provides an account of early Philippine cinema. While it presents a general overview of the events that occurred during the development of Philippine cinema, it lacks the nuances of discussion regarding Filipino films. It is knowledgeable in the information it provides on the early days of cinema in the Philippines, which is useful to know for further research. There is a section that discusses Films of Social Significance, as well as sections that touch upon the impact war has had on Filipino films. It is important to note that this book was published in 1983, and Philippine cinema has continued to drastically evolve well into the 1990s.
Romero, Eddie, director. Ganito kami noon... Paano kayo ngayon? [This Is How We Were Before, How Are You Doing Now?]. Hemisphere Pictures, 1976.
Umali, Justin. “Lino Brocka Was a Force of Change.” Esquire Philippines, 15 April 2021, https://www.esquiremag.ph/culture/movies-and-tv/lino-brocka-a2212-20210415-lfrm.
This article is a deep dive into the life of Maynila sa mga Kuko ng Liwanag (Manila in the Claws of Light) director, Lino Brocka. Umali explores Brocka’s upbringing in Manila during a time of tension between the Second World War and the 1960s. A few of the decisions Brocka has made both artistically, and as an activist, are documented in this article. It concludes by touching upon the end of his life, in which he had passed away at 51 years old in 1991.
Part 2:
Prior to beginning research for this assignment, I rarely knew anything about Philippine cinema, despite being both Filipino-American and a Cinema and Media Studies major. My knowledge of the Philippine entertainment industry consisted of the Filipino television series and variety shows my parents would watch, both of which rarely ever presented any genuine insight into the Philippines’s history and national identity. All of the cinema and media studies courses that I have taken at both USC and my previous institution had never touched upon the topic of Philippine cinema. It did not occur to me until recently that there had been a lack of Filipino representation, not only in the media, but also in film education.
I started off my research by scoping out any sort of book or article that related to Philippine cinema. I did not have a direct topic in mind; I just wanted to learn more about the subject. When I checked out a few books from the library, I found a common theme between various sources–they all thoroughly delved into the ways in which American colonialism had shaped films in the Philippines. Eventually, my topic narrowed down to reading more about the relationship between America and the Philippines, and how it has impacted Philippine film culture and society. Information about the United States’ involvement with the Philippines, the Philippines’ rule under a dictatorship, and Filipinos’ perception of the “American Dream” are presented as various subjects of interest within Philippine films.
I have always known that the Philippines has been colonized by Spain, and how this event established various aspects of what is now Philippine culture. Spanish influences can be seen through Filipino food, language, and religion–adopting similar cultural customs as other countries that have been previously colonized by Spain. What I had limited knowledge of, however, was the United State’s involvement in the event of the Philippines gaining independence from Spain, as the cession of the Philippines to the U.S. occurred after the Spanish-American War. This relationship between the Philippines and America sets the foundation of various topics of discussion within cinematic Philippine history.
The U.S. has utilized cinema to convince audiences of specific ideals. Philippine-setting American films, such as Bataan (1943), had a targeted way of depicting Filipinos. In Bataan, the Philippines would be presented as “unfamiliar and exotic,” setting the tone for the American audience that may be unaware of the country that has been a colony of the United States for nearly fifty years at this point. The Filipino soldiers, along with a few others, were portrayed as outsiders compared to the American soldiers, but eventually the Filipinos learned to work with the Americans, sending a message to audiences that Filipinos are trustworthy enough to fight alongside the U.S. troops. Various other tropes for Filipinos had also been circulating, allowing viewers to believe that all Filipinos have a strong desire for American commodities, almost disregarding the imperialist relationship between America and the Philippines.
A few of the most political Philippine films were created during and right after the era of Martial Law under Ferdinand Marcos. Philippine filmmaker, Lino Brocka, is well known for creating the most profound films, as he sheds light on issues regarding poverty and immoral leadership within the Philippines. The two films I plan to take a closer look at are Maynila sa mga Kuko ng Liwanag” (1975) and Orapronobis (1989), as they provide a glimpse into both the history of the Philippines and how Filipinos of the time felt about the totalitarian country they reside in.
This tension in the Philippines, paired with the nurtured desire Filipinos have for American commodities, has led to the Filipino pursuit of the “American Dream”. This event has influenced various storylines in Philippine cinema from the 1980s and onward. A number of films from the 1990s depict Filipino immigrants and the challenges they go through being in America, and away from home. A few years later, films about second generation immigrants shine light on Filipino-Americans who begin to lose touch with their Filipino identity.
While my initial thought was to write about the history of Philippine cinema from the first film ever made to today, I find it more intriguing to compose an informational essay discussing how the history of the Philippines tied in with the films being made throughout the years. Learning about the historical events of the Philippines assists in understanding why families of Filipino-Americans, such as myself, made the decision to be where they are today.