This document discusses Philippine cinema during and after World War II. It notes that early post-war films focused on celebrating Filipino heroism against the Japanese and Americans. However, films also depicted the disillusionment of the post-war era as guerrillas returned home to poverty, corruption, and rebellion over land rights. Over time, films explored darker themes of amnesia, collaboration, and the social problems that arose amid the aftermath of World War II. The document examines how cinema both reflected and helped process the national trauma of that turbulent period in Philippine history.
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It explains the film in terms of it's literary elements, situate the film in the context of the region, nation and the world, appreciate the cultural and the aesthetics diversity of literature and the world. It also compare and contrast from the time the film was made with the 21st literary traditions from across the world. It distinguish the literary uses of language from the non- literary uses of language and understand their use as well as the formal features and conventions of literature. And lastly, examines the relationship between the film and it's context
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‘वोटर्स विल मस्ट प्रीवेल’ (मतदाताओं को जीतना होगा) अभियान द्वारा जारी हेल्पलाइन नंबर, 4 जून को सुबह 7 बजे से दोपहर 12 बजे तक मतगणना प्रक्रिया में कहीं भी किसी भी तरह के उल्लंघन की रिपोर्ट करने के लिए खुला रहेगा।
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Find Latest India News and Breaking News these days from India on Politics, Business, Entertainment, Technology, Sports, Lifestyle and Coronavirus News in India and the world over that you can't miss. For real time update Visit our social media handle. Read First India NewsPaper in your morning replace. Visit First India.
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2. Actors and Actresses
–
™ Rogelio de la Rosa
™ Leopoldo Salcedo
™ Rosa del Rosario
™ Mira del Sol
™ Rosario Moreno
™ Carlos Padilla
™ Jose Padilla, Jr.
™ Fernando Poe, Lucita Goyena
3. Tatlong Maria
–
™ Based on an novel by
Jose Esperanza Cruz
™ Starred by Carmen
Rosales, Jose Padilla,
Jr., Norma
Blancaflor,
Liwayway Arceo and
Fernando Poe, Sr.
4. The Opium War
–
™ Only English movie allowed
™ Showed the Americans and British as
villains in international trafficking with
dope
5. Jose Nepomuceno
–
™ Assigned by the Path
News to film
Japanese activities
™ Hand-operated Eye-
Mo camera
™ Films shot were
transported to the
American authorities
by submarine
6. Fernando Poe, Sr.
–Cross medal
™ Member of an underground movement
™ Officer in the USAFFE, Gold
awardee
™ Was a guerilla in Manila and the suburbs
Gregorio Ticman
7. Bert Leroy
–
™ Was tortured by the Japanese
Ø Movie stars, directors, technicians and the
bit players and extras turned to the stage
ü 2nd Golden Age of Vaudeville
8. Alfonso Torrente
–
™ Provided the Japanese soldiers’ uniforms,
weapons, sound effects, make up
™ Were discovered by Jose Nepumuceno
™ “country’s top special effects artist”
– Cry Freedom
– Sunset Over Corregidor
– Isang Dakot na Bigas
9. Alfonso Torrente
–
™ Hollywood
– Huk
– Blackburn’s Gurerillas
– Marco Polo
10. • December 8, 1941 Japanese bombs fell
on Intramuros
• Some movie houses closed but many
opted to stay open
• Manila was declared an open city
• Japanese moved in on January 2, 1942
11. • Movie companies were allowed to operate
by the Japanese high command under the
supervision of the Central Booking Exchange
• Mostly reruns of unpolitical Hollywood and
Tagalog films
• 1943- German and Japanese feature films as
well as documentaries were brought in
-“The Sky is Blue”,”Currents of Youth”,
“Women of Japan”
12. • There were several movies nearing completion just before the war
but whose productions were halted. These were shown either
completed or unfinished
-“Caviteno”,”Anong Ganda Mo”, “Caballero”, “Nina, Bonita”,
“Princesa Urduja”,”Landas na Ginto”
• Two films were produced: LVN’s “Tiya Juana” and “Prinsipe Tenoso”
• Another film was shown right after the war: Sampaguita’s “Ang
Tagala”
13. • Japanese demanded that movies, stage plays and vaudeville
carried some form of Japanese propaganda
• Most movies were transferred to the stage
• This was “the golden age of Philippine theater” according to
Lamberto Avellana
• Some of the directors who worked on plays:
Lamberto Avellana, Gerardo De Leon, Manuel Conde, Ramon
Estella, Manuel Sillos, Tor Villano and Gregorio Fernandez
14. Some of the plays eventually got produced as movies in the postwar era:
“Limpia Bota” story of Ernesto Bohol’s life.
“Ikaw kasi” by Manuel Conde
December 21, 1942-the Japanese decided to centralize the distribution
and production of films in one agency: Eiga Haikyusha
-Responsible for the importation of foreign films, mostly Japanese and
German and later, Japanese propaganda for local consumption.
The agency was launched with the screening of “Toyo no
Gaika” (documentary)
-“United States Routed from the Philippines”, “Stars and stripes downed
forever in East Asia”,” A war epic which will live long in your memory”
were some of the film’s claims.
15. • It was the Japanese policy to push Greater East Asia Co-Prosperity
Sphere
-Film was used as an instrument
-The Japanese had three aims:
-To unmask the Americans as real enemies
-To emphasize Japan’s role as the leader of Asia
-To recover the native character lost due to years of
Occidental colonization
• The Japanese propaganda corps planned a major film to push the
three goals
-“Ano Hatte O Utte” or “The Dawn of Freedom” (“Liwayway ng
Kalayaan”)
21. –
• Discord and criminal activity?
• Or Dearth of imagination?
(T.D. Agcaoili in Literary Song Movie )
21
22. Films
shout
be
about…
–
Restoration of the normal and
peaceful deportments and thoughts of
people
– Foster friendliness and goodwill
– Emphasize the virtues and beauty
of life
(Jose Crisostomo in Literary Song )
22
25. Euphoria
over
the
end
of
war
and
victory
over
the
Japanese
–
• Heroism of Filipino guerrillas
• Atrocities inflicted on guerrillas
and civilians
– Intramuros (The Rape of a
City)
• Heroism of media practitioners 25
46. HUKBALAHAP came to national
–
prominence;
movies pounced on the new material
but censors stopped it;
Luis Nolasco’s "Luis Taruc Ang
Supremo” was halted in its early
shooting phase
58. –
The image of the guerrilla returning to his hometown and
experiencing
hardships gripped filmmakers and audiences alike.
Film has unwittingly captured the tragedy of the post-war era,
the festering decay of morality,
the growing corruption,
the amnesia of history.