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Mababang langit, who killed philippine cinema, a ted talk by pepe diokno.

Maybe you meant "It Takes a Man and a Woman"...? Anyhoo, thanks for sharing. Will share sa FB. Like I always said before, the good thing about the almost-death of the Filipino film industry was it became an opportunity for indie films to shine. It made films more relevant again, with more interesting concepts, plots. Gumanda. Nagkaroon ng kuwenta...

salamat sa koreksyon gi! pet peeve ko yang mga song title movies na yan. no recall at all. the same can be said for komiks... kung hindi nalugi yung atlas, malamang walang indies scene ngayon.

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A renaissance of Philippine cinema

Philippine cinema is back with a vengeance. A new generation of world-class directors is giving a much-needed boost to one of the fountains of our national culture. Think of Jhett Tolentino’s “Asian Persuasion,” which is arguably our answer to “Crazy Rich Asians.” Blessed with a dazzling cast, and led by no less than KC Concepcion, the movie is a beautiful tribute to the grittiness of the Filipino-American community and the broader vicissitudes of the Asian-American experience in the 21st century.

The script is elegant, the cast is judiciously selected, and the overall directorial footprint is magisterial. In many ways, Tolentino’s distinctly cosmopolitan yet authentically Filipino romantic-comedy movie may end up spawning a whole new genre for Philippine cinema—thus, boosting our chances to reclaim our place of pride among nations. And the historical movie landscape looks just as promising. Perhaps no Filipino director better symbolizes a new golden era of Philippine cinema than Jose Lorenzo “Pepe” Diokno III.

I first heard about the “GomBurZa” project while walking down the streets of Madrid. Just days earlier, I had witnessed the official induction of Rizal’s works into the canon of Spanish literature at Instituto Cervantes, So, quite naturally, I was haunted by the ghost of Rizal, and everything splendid that his intellectual legacy represented.

And yet, I was also keenly aware that Rizal was not our first national hero, nor the first Filipino. Instead, his life and works represented a continuation of a much deeper revolutionary tradition that stretches back to the early 19th century. And here is where Diokno’s “GomBurZa” is intellectually refreshing and historically nuanced.

The movie correctly recounts (spoiler alert!) the legacy of earlier generations of Filipino revolutionary such as Hermano Pule, a religious leader who defied institutionalized racism to establish the indigenous Cofradía de San José. His revolt came on the heels of Andrés Novales’ briefly successful coup against the Spanish regime in Manila.

This sets the tone for the opening scenes of the movie, where Padre Pedro Pelaez is subtly warning his protégé, Jose Burgos, against the vicissitudes of Spanish imperium. By the mid-19th century, the Spanish Empire was a shell of its former glory.

Barely half a century earlier, a priest, Miguel Hidalgo y Costilla, had successfully ejected Spain from Nueva España (Mexico). Not long after, another Spanish creole, Simón Bolívar, led a continent-wide set of revolutions in South America. Madrid was in no mood for compromise in the twilight decades of the 19th century. In fact, “GomBurZa” accurately captures the violent lashes of a dying beast, as the imperial machine began to nip any contrarian view in the bud.

One of the most telling scenes in “GomBurZa” is when Jose Burgos is confronted by the incorrigibility of the Spanish Empire. His call for basic “equality”—namely, between Philippine-born creoles and those born in Spain—was flatly rejected by the ostensibly sympathetic Governor General Carlos María de la Torre. This only served as a preview for the reactionary regime of Rafael Izquierdo, who deliberately pushed for maximum punishment for Mariano Gómes, José Burgos, and Jacinto Zamora.

The inane brutality of Zamora’s execution was masterfully portrayed by Enchong Dee, who seamlessly transitions from a playful youth into a most tragic figure. It was thanks to the intervention of the Catholic hierarchy that Izquierdo was forced to allow the three priests to retain their liturgical vestments at their moment of execution.

Thus, at once, Diokno’s movie transmits three crucial messages, namely (i) the first “Filipinos” were of extremely diverse ethnic and socioeconomic backgrounds; (ii) that Rizal’s generation of revolutionaries owed their political passions to much earlier generations, especially the martyrdom of the three priests; and (iii) that it was primarily the Spanish secular authorities—rather than the “friarocracy”—who were bent on a maximalist and ultimately violent approach to retain the Philippine Islands at any cost.

The final scenes of the movie are arguably the most powerful and emotionally wrenching. “I am innocent,” Jose Burgos protests in his final moments—with the sky above darkening and the crowd below drenched in sorrow—just to retreat into sublime submission when told by a presiding priest, “So was Jesus Christ.” And there lies the very spirit of sacrifice that birthed our tragic yet singularly beautiful nation.

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Tuesday, October 8, 2013

Who killed philippine cinema.

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PH Cinema is not dead — it is changing and evolving

Since the onset of Covid-19, the Philippine film industry has faced incredible drawbacks — from the continued closure of cinemas which affected the production of local films, to the challenges plaguing the safe conduct of production activities and onsite events. This has undeniably put a damper on the spirits of our stakeholders.

Despite this, the Film Development Council of the Philippines (FDCP) is nowhere near throwing in the towel yet. We believe that every challenge presents an opportunity to adapt, grow, and even thrive and become better than before.

While in some ways, it's true that the devastating effects of the pandemic can cut us from the world, it can also bring us closer to it. I believe that there is a big shift happening due to the pandemic, and it has highlighted, now more than ever, the incredible potential of Philippine Cinema to go global and take advantage of these new possibilities of connecting beyond our borders.

Adapting to the change

For our Agency, certainly some programs were delayed or even cancelled, but even more shifted and thrived to adapt to what this new normal has offered.

As we put a standard to the quality of films being produced, the agency also elevates its programs so that we can keep producing globally competitive content and continue supporting filmmakers that can compete at the international arena. There is a growing demand for local content with emerging platforms to choose from; this is where FDCP comes in to provide essential tools to equip aspiring filmmakers for the future.

Just last week, from September 16 to 19, the agency held its annual Film Industry Conference, now known as the International Film Industry Conference (IFIC). The Conference consisted of 11 free public sessions and seven masterclasses featuring big names and leaders of the global film industry as panelists and speakers. It has since expanded to offer sessions and workshops that can also be availed by regional and international filmmakers and enthusiasts. It tackled various topics from development to distribution during these times, which is a relevant discourse that needs to be understood so that we can move forward and come up with solutions to face the implications the shift will bring on the industry.

Two IFIC sessions were part of the ASEAN-ROK Film Workshop Series that FDCP hosted in partnership with the Korean Film Council: "Backstage Access: Bringing Philippine Animation to the World" and "Shaping the New Landscape of Asean Film Industry." I was one of the panelists in the latter, representing the Agency along with other film commissioners.

Among the yearly programs of FDCP, IFIC has been my personal favorite. In just four years, it has gathered over 3,000 attendees. I am grateful that we are able to continue this year online, where more people have access to the sessions and masterclasses and stay up to date about the local and international film industries.

The Full Circle Lab Philippines (FCL PH), a talent development program organized by FDCP with Tatino Films, also commenced last September 20. The 3rd edition of FCL PH has chosen a total of 24 prime projects out of 155 applications from the Philippines and Southeast Asia. This year, with the newly added Creative Producers Lab, the FCL took place online featuring an international assembly of mentors for the various labs.

Through FCL PH, together with FCL director Matthieu Darras and producer Izabela Igel, we aim to cultivate stories to create a culture of excellence and sustainable cinema in the Philippines and in Southeast Asia. We are impressed by the range of projects we have chosen from and we are excited to see them grow and eventually compete globally.

The future is here

Since the closure of our local cinemas, people have turned to VOD platforms for leisure activity especially during this pandemic. There has been a high demand for content from various platforms. The cinematic experience is incomparable but we must come to terms with the reality that this may be the future of Philippine Cinema as it continuously evolves.

This year, Filipino filmmakers also made their way to the international scene in various festivals. Carlo Francisco Manatad's "Kun Maupay Man It Panahon," which had its world premiere at Locarno Film Festival, bagged the Cinema e Gioventù Prize (Cinema and Youth Prize) from the Concorso Cineasti del Presente Junior Jury.

The historic win of Erik Matti's "On The Job: The Missing 8" — with the Volvi Cup for Best Actor for John Arcilla's performance in the Venice Film Festival — is now streaming on HBO GO, reaching an even wider audience. Our Filipino filmmakers have proven that Philippine Cinema is awake and the industry is striving. With the right support and preparedness, we can take advantage of this change and bring more Filipino talents to greater heights.

During the opening of IFIC, Stephen Jenner, Communications Vice President of the Asia-Pacific Region for the Motion Picture Association, delivered a keynote address on the current situation of the film industry. "We are an industry that does not stand still but always finds a way that inspires and illuminates, and there's no doubt that we will continue to do so. Today, next year, and for decades to come."

The world's cinema is not dead, and neither is Philippine Cinema. This is what we've been seeing in how our films and filmmakers are continuing to make waves locally and internationally, opening many doors to the possible collaborations and showcase of our content outside of the country. As we celebrate the first Philippine Industry Month, we are reminded of the immense potential of our Filipino producers, filmmakers, and artists to overcome the obstacles in front of them and pave the way to a new era of Philippine Cinema. And we will be with them every step of the way.

Notes from the Chair The Sunday Times Magazine  - The Manila Times Notes from the Chair is part of the Arts Awake section of The Sunday Times Magazine published by The Manila Times. Click HERE to view the article on The Manila Times website.

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OCTOBER 27, 2022

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What is Philippine cinema? This documentary looks back at the industry’s past 100 years

• BY Pauline Miranda
• January 26, 2022

Year after year, during film festival season, we witness numerous  debates  on what it means to make good Filipino films. But whether we measure quality by our local film festival selection, or by international festival accolades, the fact of the matter is, we have a rich, growing film industry—we just have to pay closer attention.

The documentary series “Habambuhay” does just that: It was produced by TBA Studios in partnership with the  Film Development Council of the Philippines  and the National Commission for Culture and the Arts for the centennial commemoration of Philippine cinema. It takes a look back at the highs and lows of the industry through interviews and dialogues with key players in our local film history, along with archival film footage and other visuals.

Award-winning directors, seasoned screenwriters, and the industry’s biggest producers and production house founders talk about the golden age and the struggles the industry has faced. Prominent actors and artist families also share their experiences.

Among notable film personalities featured in the documentary are directors  Lav Diaz , Laurice Guillen,  Brillante Mendoza ,  Anita Linda , Luis Nepomuceno, Michael de Mesa, Cherie Gil, Nora Aunor, Gloria Romero,  Eddie Garcia , Lily Monteverde, Charo Santos-Concio, Marichu Vera-Perez,  Peque Gallaga ,  Jerrold Tarog , Ricky Lee, Rody Vera, and more.

The documentary was originally screened in cinemas in 2019, and will be made available online on Jan. 28 at 8 p.m. through TBA Studios’  YouTube channel .

This story was first published on nolisoli.ph

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Philippine Cinema, 1897-2020

It emerged as the Best Book on Art in the 39th National Book Awards besting five other titles in the competition’s non-literary division. Philippine Cinema, 1897-2020, authored by Gaspar A. Vibal and Dennis S. Villegas and edited by Teddy O. Co, was honored as among “the most prestigious book titles written, designed, and published in the country” for the years 2019 and 2020. The 416-page book, published by the Vibal Foundation, was bookended by Clodualdo del Mundo, Jr.’s foreword and Nick Deocampo’s afterword.

The cover and contents of the book mirror the colorful and vibrant energy of the country’s 123 years of cinematic history from its inception in Spanish colonial Manila to the present pandemic age.

It has five major sections with the first four covering four periods in its history: Flickers of the Early Cinema, 1897-1945; From Wartime Trauma to the Golden Age, 1946-1972; The Dictatorship and the Cinema of Resistance, Escapism, and Transgression, 1972-1986; and Cinema of the Neoliberal Democratic Age, 1986-2020. It also has a section on Indie, Regional, Alternative, and Gender-Fluid Cinema.

Philippine Cinema, 1897-2020 has 100 essays on the many different aspects of the country’s film history: its artistic language, conventions, narratives, textual sources, discourses on women, gender, modernity, and national identity. From the aspect of identity, the topic flows into its inherent hybridity and transnational character.

The book aims to set a middle ground of sorts in viewing cinema’s history by delving into 1,200 notes but also sharing passed on information (gossips) accompanied by more than 1,315 images. The middle ground has the bakya (popular) or the commercial on one extreme and the academic film discourse on the other extreme.

A veritable reference book on Philippine cinematic history, its appendices include Notable Philippine Films, 1898-2020; Notable Actors and Actresses of Philippine Cinema; Who’s Who in Philippine Film; Philippine Movie Titles in English or Foreign Translation; and Philippine and World Cinema Chronology, 1885-2020.

The book is available online at https://shop.vibalgroup.com/ and at Shopee https://shopee.ph/vibalgroup.

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Freedom Of The Press Is An Old Issue In The Philippines. What Will Marcos Jr. Do Now?

The fatal shooting of Filipino radio broadcaster Percival Mabasa in Manila earlier this month has heightened concerns that the media will remain under attack during the new administration of President Ferdinand Marcos Jr. in one of the most dangerous countries in the world for journalists.

The 63-year-old host of the “Lapid Fire” show was known for his sharp critiques of both Marcos Jr., the son of a dictator ousted in a pro-democracy uprising in 1986, and the previous president, Rodrigo Duterte, who oversaw a deadly crackdown on illegal drugs.

The Philippine police and a presidential task force on media security are still investigating the case but presume that the killing was work-related.

Mabasa, who used the broadcast name Percy Lapid, was the second j ournalist killed since Marcos Jr. took office at the end of June. According to the National Union of Journalists of the Philippines, nearly 200 journalists have been killed since the late Ferdinand Marcos was overthrown and went into exile in Hawaii in 1986.

Mabasa’s killing stood out because it took place in the capital of Manila, while most other attacks against journalists have been outside of the capital. Another Filipino radio journalist, Renato “Rey” Blanco, was killed last month in the Negros Oriental province in the central Philippines.

Mabasa was killed when two men on a motorcycle approached the vehicle he was driving and shot him twice in the head on Oct. 3 in suburban Las Pinas City, The Associated Press reported, adding that the attackers escaped.

He was on his way to work, his brother, Roy Mabasa said on social media.

LAST time I saw my brother #PercyLapid alive in person was about 2 weeks ago. Percy was ambushed Monday night while on his way to his #lapidfire studio in Las Piñas. I'll always remember him for his deep faith in God & his undying love for his country. #JusticeForPercyLapid pic.twitter.com/ZWwlW3XgkH — ROY MABASA (@roymabasa) October 5, 2022

Local and international advocacy organizations condemned the killing and the New York-based Committee to Protect Journalists called on Philippine authorities to bring the perpetrators to justice. The organization also said it had emailed Marcos Jr.’s office and the presidential task force for comment.

Decades of killings, institutional corruption, legal persecution, false labeling as communists or terrorists and disinformation campaigns have rendered the Philippines one of the most hazardous places for media workers. The Southeast Asian nation also is plagued by private armies controlled by powerful clans and weak law enforcement.

One of the worst journalist massacres occurred in 2009 when 32 reporters were killed in Maguindanao province. A decade passed before any of the killers faced justice .

Threats to the Philippine media received global attention when Maria Ressa, CEO of the online Filipino news platform Rappler, won the Nobel Peace Prize last year alongside Russian journalist Dmitry Andreyevich Muratov. She has since been fighting a cyber libel conviction in the Philippines .

Carlos Conde, head Philippines researcher for Human Rights Watch, said that over half of the journalists killed had worked in radio, a medium in which reporting and commentary blur together in efforts to stand out in an industry of competing voices. He said that demonization of the media was just one of the human rights challenges aggravated under Duterte’s term.

“The killing of journalists is not something that occurs in a vacuum,” he said in a phone interview from his hotel room in Geneva, where he attended the 51st session of the U.N. Human Rights Council on Oct. 5.

Attacks against journalists reflect the poor quality of law enforcement institutions in the country as well as widespread corruption, Conde said.

“It’s been so commonplace and nobody’s shocked anymore – they’ve been inured to the violence,” Conde said.

Meanwhile, social media has facilitated the faster and easier spread of false narratives by government officials, journalists and citizens alike. And so-called red-tagging — the practice of harassing, threatening or blacklisting somebody by accusing them of being a communist or a terrorist — has bled over from the Duterte era.

“Troll armies” in the service of politicians make powerful accusations that become magnified among people who can no longer discern between real and fake news, Conde said. The problem is exacerbated in radio and broadcast journalism because of the selling of air time to the highest bidders, who can say whatever they want.

“This distinction really needs to be highlighted, especially for people outside of the Philippines: the fact is that a lot of this disinformation is put out by those with money to do that. It’s not some organic thing that happens,” Conde said.

He said such disinformation campaigns contributed to Marcos Jr.’s victory over former Vice President Leni Robredo in the presidential election.

The escalation of international attention on the human rights struggle in the Philippines started when Duterte took office in 2016 and began his war on drugs that drew international condemnation for widespread human rights abuses.

“It could be many years before the attitude towards the media changes.” — Journalists’ Union Chair Jonathan de Santos

The new president has vowed that journalists would be protected under his administration, and he reiterated that commitment in a speech after Mabasa’s killing.

“Under my lead, we will support and protect the rights of the media as they efficiently perform their duty. Whatever difficulties we may encounter from this point on, the government will always be ready to lend an ear and to listen to your concerns and to answer all that you may want to know,” he was quoted as saying in the Manila Times .

The signing of the  first national U.N.-Philippines Joint Program for human rights on July 22 also gave activists hope that there would be more accountability to commitments institutionalized in the international arena.

The last episode of Mabasa’s radio show , which aired Sept. 27 on DWBL 1242 AM railed against the institutional red-tagging that had flared up during the outgoing Duterte administration and, according to the host, was continuing with impunity under Marcos Jr. 

The night following Mabasa’s death, the national journalists’ union organized a candlelit rally in Quezon City to pay tribute to the radio journalist and call for government action against his killers. 

“The biggest thing (journalists) can do now is watch out for each other, track the progress and lack of progress of cases, and keep them in the public attention. Another way is to look at the issues that the journalist was talking about and amplify them,” journalists’ union chair Jonathan de Santos said.

Early in the new administration, journalists and local civic organizations welcome Marcos Jr.’s words but express skepticism that change will happen fast.

“It could be many years before the attitude towards the media changes, but t here’s so much more to gain from solidarity within the communities of the public. We have to reach out more to the community – be more relatable, I suppose, to make people feel that they’re heard, that they’re seen,” De Santos said.

The Civil Beat Editorial Board Interview: Nobel Peace Prize Laureate Maria Ressa

Maria Ressa To Speak On ‘Press Freedom Under Fire’

The national journalists’ union has pr o g rams  that support the digital and physical safety of journalists, ranging from a media safety office that tracks harm toward media workers to a fund for orphans of slain voices. The organization is expanding its outreach efforts to provide media ethics training and media literacy events showing why journalism is crucial for the public good and to help promote accountability.

“Being critical doesn’t mean you want the government to fail,” De Santos said.

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‘Attack on press freedom’: Killing of broadcaster Percy Lapid ignites outcry

Already have Rappler+? Sign in to listen to groundbreaking journalism.

This is AI generated summarization, which may have errors. For context, always refer to the full article.

MEDIA KILLING. Percival Mabasa, better known as Percy Lapid, was shot dead on October 3, 2022.

Percy Lapid Fire's Facebook page

MANILA, Philippines – Calls for justice poured in on Tuesday, October 4, in the wake of the murder of broadcast journalist Percy Lapid by unidentified assailants the night before.

In a tweet, opposition figure and former vice president Leni Robredo said authorities should not be remiss in their duty to find answers on the death of the radio commentator, whose real name was Percival Mabasa.

“In a society that is truly free, there is no space for violence and suppression of journalists,” Robredo asserted in Filipino.

In the Senate, public information and mass media committee chairperson Robin Padilla echoed calls for the immediate arrest of the perpetrators.

“This murder of a media man is an attack on the right to freedom of expression that is enshrined in our Constitution,” Padilla said.

Senator Risa Hontiveros and former Bayan Muna representative Neri Colmenares, meanwhile, highlighted Lapid’s role as a dissenter who kept leaders’ powers in check.

“He spoke against fake news, he was brave enough to discuss the perils of red-tagging, and he was not afraid to speak against the historical distortions of Martial Law,” Colmenares said. “He was also supposed to be part of the petitioners in filing an indirect contempt petition versus former National Task Force to End Local Communist Armed Conflict spokesperson Lorraine Badoy.”

“This is a brazen attack on press freedom. But this also demonstrates the inherent power of speech and truth telling,” Hontiveros added in a separate statement.

The progressive Makabayan bloc in Congress pointed out that Lapid’s killing incidentally took place just a few days before President Ferdinand Marcos Jr. marks his 100 days in office.

“The culture of impunity is worsening in the country. We condemn this heinous act against Percy Lapid and we are calling for an impartial probe on the matter,” ACT Teachers Representative France Castro said.

Ang Probinsyano Representative Alfred delos Santos said his team will study how his proposed Magna Carta for media workers could be expanded to avoid tragedies like Lapid’s death.

“Journalists are also frontliners – routinely risking their lives by being one of the first people at an active crime scene, a disaster-stricken area, and even disease-ridden communities,” Delos Santos said in a statement.

Lapid was gunned down by unknown motorcycle-riding assailants while inside his vehicle in Las Piñas City on Monday, October 3.

The National Union of Journalists of the Philippines said he is the second journalist to be killed under the Marcos Jr. administration, and the 197th since the 1986 EDSA uprising that restored Philippine democracy.

As of 2021, the Philippines was the world’s seventh worst country for unsolved killings of journalists, based on the global index of the New York-based media watchdog Committee to Protect Journalists. – Rappler.com

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