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).
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
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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.
Mathijs, Ernest, and Jamie Sexton. Cult Cinema: An Introduction. Chichester, West Sussex: Wiley-Blackwell, 2011. Print.
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
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
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.
Fu, Poshek, and David Desser, eds. The Cinema of Hong Kong. Cambridge, United Kingdom: Cambridge University Press, 2000.
Although in shambles, It did not take long for film to make a resurgence in France. Domestic production was boosted following the introduction of The Centre National de la Cinématographe, a government organization that provided assistance to the industry in the form of loans and training. Imported films, especially those from America, began flowing into France following its liberation by Allied forces, and moviegoers were suddenly exposed to years of new films they had been previously cut off from all at once. As the market for films began to heat up, French filmmakers were presented with two choices; continue producing films adapted from relatively outdated literary works in the classic French tradition, or imitate the Hollywood Studio system of production, creating big-budget features for an international audience with the assistance of the CNC. These contrasting styles of filmmaking...
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In considering some of the reasons for the recent success of South Korean cinema, two further observations can be made. First, if we pay attention to the international export success of South Korean cinema, we can see that it has carved out a new route. This is based on regional markets at least as much as Europe and the United States. Second, unlike the successes of the Taiwanese and Chinese “new waves” since the 1980s, it is not based on the old European art cinema model. This raises a question about the viability of art cinema, independent feature films, short films, independent documentary, and other less profitable and commercial modes of filmmaking in South Korea. It may even lead some people to believe that those other modes of filmmaking are not an integral part of the new South Korean cinema success story. Yet, my third and final point will be to argue against this and for the importance of what I want to tentatively call “full service cinema,” including a full range of modes of production and consumption. In making this point, I want to challenge another very common assumption not only in South Korea but everywhere—the idea that art cinema and independent cinema are opposed to mainstream commercial cinema. While there may be an aesthetic opposition between them, it is a strategic mistake to translate this into an institutional opposition. Even though their philosophies may be very different, as I will attempt to outline today, they need each other to succeed.