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Culture influences and ideas
Culture influences and ideas
Culture influences and ideas
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History of Philippine Cinema
Introduction
The youngest of the Philippine arts, film has evolved to become the most popular of all the art forms. Introduced only in 1897, films have ranged from silent movies to talkies; black and white to color. Outpacing its predecessors by gaining public acceptance, from one end of the country to the other, its viewers come from all walks of life. Nationwide, there are more than 1000 movie theaters. Early in the 1980s, it was estimated in Metro Manila alone, there were around 2.5 million moviegoers. As an art form, it reflects the culture and the beliefs of the people it caters to and most times, is the one who shapes their consciousness.
Philippine film as discussed in this paper includes films made by Filipino people exhibited in this country and possibly in other countries from the 1930s to the 1990s. The films may be silent pictures or talkies, black and white or color. They also include films such as documentaries, animation, experimental or alternative films and other types of films.
This paper has three purposes or objectives. It intends, first of all, to provide a comprehensible background of the art of film in the Philippines. It provides insights on how the Philippine film has influenced Philippine culture and vice-versa. This is done by documenting the important events and important films in the area of film for the past ninety years. Second, it intends to explain the different trends and styles common in the Philippine film. And finally, it concludes with an analysis on how two important events in history, namely World War II and Martial Law altered the course of contemporary Philippine film.
However, this paper is limited to films only from the particular time period of the 1930s to the 1990s. It fails to give a picture of how films were like ever since it started in 1897. This paper is also severely limited due to the unavailability and the lack of materials that discuss thoroughly the history of Philippine film. Film materials for those made during the pre-WWII years are simply non-existent. Data for this paper was gathered from the essays and reviews written by the artists and the critics themselves. It goes without saying that the resources were tested to the limits.
CHAPTER 1
I. The 1930s to 1940s
A. Early Philippine Films
Filipinos started making movies in 1919. However, it would be important to know that the film industry in the Philippines began through the initiative of foreign entrepreneurs.
My initial idea for this paper was to focus on the technical aspects of the film—the hybrid of animation and live action. I first saw this technique used in The Three Caballeros (Ferguson & Young, 1944) and was going to research this film, but the amount of literature on t...
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Jewel, R. B (2007). The Golden Age of Cinema, Hollywood 1929-1940. Oxford: Blackwell Publishing. P86: Figure 2.6
explode in popularity and the introduction of theaters specifically for film. Firstly, amid the circuses, the wild...
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
Watching a movie in the 1920s was a cheap and easy way to be transported into a world of glitz and glamour, a world of crime, or a world of magic and mystery. Some of these worlds included aspects of current events, like war, crime, and advances in technology; while others were completely fictional mysteries, romances, and comedies. Heartbreakers, heartthrobs, comedians and beautiful women dominated movie screens across the country in theaters, called Nickelodeons. Nickelodeons were very basic and small theaters which later transformed into opulent and monumental palaces. When sound was introduced into film by Warner Bros. Pictures, “talkies” took top rank over silent films. “Movies were an art form that had universal appeal. Their essence was entertainment; their success, financial and otherwise, was huge” (1920-30, 3/19/11). Films offered an escape from the troubles of everyday life in the 20s, and moviegoers across the country all shared a universal language: watching movies.
Films were blossoming during the “Roaring twenties.” At the beginning of the decade, films were created mostly in Hollywood and West Coast, but as well as in Arizona and New Jersey. Most people do not know that the greatest output of films was between 1920 and 1930 and was 800 films per year. Nowadays, people consider big output of 500 films per year. The film business was a huge one because the capital investments were over $2 billion. At the end of the decade there were 20 studios in Hollywood and the interest in films was greater then ever.
The 1930s was the beginning of the great film industry we have today. The 1930s (and some of the 1940s) was dubbed “The Golden Age of Hollywood”. This was the decade color and sound were introduced to film industry. Because of the Great Depression many families did not have any money and therefore wanted a cheap source of entertainment. Movies not only included a full length movie, but a cartoon, a newsreel and second movie called a “B-film”. This second film was not as good of quality as the main movie (A-film) and had lower quality. These films were allowed to experiment more with their topics than “A-films”. The prestigious films were expected to be about a topics that were popular and would then produce higher profits. The first drive-in
Star Wars (1977) is one of the world’s most successful films of all time. It has made a terrific impact on popular culture since its release. Furthermore, Star Wars changed the narrative and aesthetic style of future Hollywood films. Star Wars Episode IV: A New Hope, illustrates how cinema has evolved since Fred Ott’s Sneeze (1894). Ultimately, this essay will explain the set up of Star Wars and how it connects to cinema history, in the point of views of the: narrative and cinematic style, genre, auteur theory and the global film industry.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon. First, it attempts to trace South Korean cinema’s comeback story. I feel a need to do this because I find that so many of my South Korean friends and colleagues are reluctant to admit this, or focus solely on the problems the industry is facing in the future. There may be worries about the future and there may be “ifs” and “buts” about the present state of the South Korean film industry. But we should start out by acknowledging its success.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Many people don’t think about it so much, but movies (or just film in general) have become such a big part of our lives that we don’t think much of it because it just feels like a usual part of living. But have you ever wondered why this is, and how far back film started? Movies and film have been around for a long time, have developed in big ways throughout time, and has advanced in such a big and new way to this day.