Filipinos started making movies in the year of 1919. The first Filipino to make a movie goes to Jose Nepomuceno, also known as the ”Father of Philippine Movies”, Since then the Philippine movies became hit. Lately after Foreign films rise in the Philippine cinema. In the Year 2000’s, it shows the dramatic decline of the Philippine movie industry. The Hollywood films control the mainstream cinemas even more and the movies produced in Philippines gradually decreases that is why many producers and production companies stop producing movies after losing a million of pesos. Thereafter, the Independent Films began to emerge in the Philippine cinema. Indie Films or Independent films as we all know are films that are not made by mainstream movie film productions and not made in the mainstream movie studios. Rather as its name says, it is a film production that is independent of the influences, powers and authority of the mainstream ones (Sulat, 2010). Independent Films that produced in the Philippines are mostly controversial, showing the Philippines different faces in life, making it unacceptable to the people who do not watch real-life based films like Independent films. This paper is based on the study conducted by Alexis Tioseco in 2007. The focus of Tioseco’s study focuses on the current state of independent feature filmmaking in the Philippines, compares it briefly to its past, highlights some of the key figures that have propelled it to its present, and proposes the main area wherein development is needed for it to progress further. This study was able to terminate the history mainstreams road to failure and indie films rise to be known in the local media. Indie Films would then be workable to this framework since they show dis... ... middle of paper ... ...he Golden ages director of Philippine Cinema. Enriquez A. (2013). Indie Films stake Philippine cinema claim. Retrieved March 4, 2014 from bbc website: Jones T. (2005). Getting started in short film making. Lasallisan Web Team. (2012). Independent films. Retrieved January 6, 2014 from: thelasallian.com Mon-alon D. (2011). Philippine Indie Films. Retrieve January 6, 2014 from: Reyes E. notes on Philippine Cinema. Sulat T. (2010). Indie Films. Retrieved Febuary 28, 2014 from the Philippines website: Tioseco, A. (2007). Shifting agendas: the decay of the mainstream and rise of the independents in the context of Philippine cinema.Inter-Asia Cultural Studies, 8(2), 298-303. doi:10.1080/14649370701238771
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
With the loss of its centralized structure, the film industry produced filmmakers with radical new ideas. The unique nature of these films was a product of the loss of unified identity.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
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According to historians like Neil Burch, the primitive period of the film industry, at the turn of the 20th century was making films that appealed to their audiences due to the simple story. A non-fiction narrative, single shots a burgeoning sense
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
Fu, Poshek, and David Desser, eds. The Cinema of Hong Kong. Cambridge, United Kingdom: Cambridge University Press, 2000.
This New Wave aesthetic solidified film as a mainstream artform, stressing that film was carefully crafted similarly to literature. Individual directors, or auteurs, were expected to “author” their films in much the same way that an author would write a novel. This auteur theory and its accompanying aesthetic became the backbone of the French New Wave and was what drove innovation. Breaking free from the screenwriter, producer, and studio driven systems of the past, and putting the creative power back in the hands of the director was seen as a crucial step in solving Cahiers’ perceived problems with French cinema before the movement.
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.
Fregoso, Rosa Linda. "Chicana Film Practices: Confronting the 'Many-Headed Demon of Oppression.'" New York, NY: University of Minnesota Press.
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.