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Pelikulang Komiks: Towards a Theory of Filipino Film Adaptation vi PELIKULANG KOMIKS: TOWARDS A THEORY OF FILIPINO FILM ADAPTATION JOYCE L. ARRIOLA A Dissertation Submitted to the COLLEGE OF MASS COMMUNICATION University of the Philippines Diliman for the degree of DOCTOR OF PHILOSOPHY IN COMMUNICATION April 2013 ABSTRACT vii Arriola, J. L. (2013). Pelikulang Komiks: Towards a Theory of Filipino Film Adaptation. Unpublished Doctoral Dissertation. University of the Philippines College of Mass Communication. This dissertation built and proposed an emergent Filipino komiks-to-film adaptation theory in the 1950s. It employed the grounded theory approach to unveil data that led to a contextualized, localized or indigenized study of adaptation. An inventory of extant texts led to the selection of four (4) films representing Filipinized genres such as the korido film, fantasy-adventure, comedy and historical film. The semiotic analysis drew from the approaches of Christian Metz, Raymond Bellour and Rick Altman. Contemporary adaptation criticism was also employed to explain constructs specific to Filipino culture. A social film history based on unstructured interviews with ten (10) key informants provided the context to the texts analyzed. This was supplemented by periodicals published in the fifties. The meta-issues of the theory addressed the state of the archives and current discourse. The concepts and assumptions about komiks-to-film adaptation supplemented the framework of the proposed theory that shall be called a vernacular and hybrid theory of Filipino film adaptation. Key words: source text, semiotics of adaptation, Filipino genres, adaptation criticism, Filipino film adaptation theory, vernacular, hybridity viii BIOGRAPHICAL DATA PERSONAL DATA Name Joyce L. Arriola E-mail Address [email protected] [email protected] Date and Place of Birth March 15, 1968, Quezon City EDUCATION PhD PhD Communication, University of the Philippines Diliman (UP), 2013 PhD Literature, Summa cum Laude, University of Santo Tomas (UST), 2003 MA MA Communication, major in Journalism, UP, 1998 MA Literature, UST, 1995 BA AB Literature, Cum Laude, UST, 1988 ORGANIZATIONS Member, CHED Technical Committee for Literature Board Member, Philippines Communication Society WORK EXPERIENCE Faculty Member, UST, 1993-present Information Officer, Bureau of Broadcast Services, Office of the Press Secretary (1989-1992) ACHIEVEMENTS JAKA Professorial Chair Award (AY 2003-2004 , AY 2004-2005) UST Research Awards (Silver Series 2005, Silver Series 2008, Gold Series 2010) National Book Award for Film/Film Criticism (2007) ix ACKNOWLEDGEMENTS The dissertation came into fruition through the inspiration and guidance of the following people: Dr. Arminda Santiago, my adviser, for being a generous and patient mentor, for reminding me to be inspired all the time, and for sharing with me her expertise on the subject with both lucidity and erudition. Dr. Grace Alfonso, my critic and reader, for her kindness and generosity, and her expert opinion and guidance as well. Dr. Nicanor Tiongson, Dr. Lourdes Portus, Dr. Violeda Umali and Dr. Clarissa David for their meticulous evaluation of the dissertation and their selfless sharing of their time. Dr. Bea Margarita Lapa, fellow Piscean, who has been an inspiration in her dedication, intelligence and kind friendship. The key informants of this study who shared profound insights that greatly enriched this dissertation. Ms. Julie Galino of ABS-CBN , Ms. Kat Adecer of Kaizen Company and Mr. Donato Cunanan of kabayancentral.com. for facilitating the acquisition of the films covered by the study. The librarians of the National Library, UP-Diliman, Lopez Museum and Library and Manila Bulletin Library who assisted me in finding archival materials relevant to the study. The Commission on Higher Education-OPPRI for approving my CHED Dissertation Grant and Ms. Elvie Villegas for her kind assistance. Dr. Clarita Carillo and Dr. Michael Anthony Vasco, my superiors at the University of Santo Tomas, for encouraging and approving my study leave. The late Prof. Ellen Paglinauan who inspired me to pursue an interest in cinema studies and the late Prof. Andres Sevilla who guided me in my master thesis. My parents, Efren and Rocina, who prayed for me and supported me through the tough days of writing. Most of all, the Lord God, for giving me strength and the gift of knowledge. x TABLE OF CONTENTS Page Number TITLE PAGE i APPROVAL SHEET ii ABSTRACT iii BIOGRAPHICAL DATA iv ACKNOWLEDGEMENTS v TABLE OF CONTENTS vi LIST OF TABLES xiv LIST OF FIGURES xv I. INTRODUCTION A. A Reflexive Introduction on Adaptation Studies, or The Limits of Western Film Adaptation Theory 1 B. Background and Rationale 8 1. Film in the Philippines a. The roots of the film technology 8 b. Film in the Philippines: The Early Years 11 2. The rise of komiks 13 3. Film Theory as Film History 15 B. Statement of the Problem 17 C. Statement of Objectives 17 D. Significance of the Study 18 II .REVIEW OF RELATED LITERATURE xi A. Introduction 21 B. Film Technology in the Philippines 22 C. Relationship between Philippine Cinema and Its Source/Precursor Texts: Historical Perspective 26 1. Komiks into films 30 2. Aesthetics of Adaptation 35 D. Literatures on Adaptation Criticism and Theory 39 1. Adaptation Criticism 40 2. Adaptation Theory 46 E. Synthesis and Critique 49 III. FRAMEWORK OF THE STUDY A. Theories and Concepts 52 1. Contextualizing Film Adaptation Within the Specificities of Filipino Culture 52 a. Drawing from Sikolohiyang Pilipino [Filipino Psychology] and other contextualized local sciences 54 b. Four Axes of Contextualization (1) Indigenization 57 (2) Localization 57 (3) Vernacularization 58 (4) Hybridization 59 2. Western Theories and Concepts Useful to the Textual Analysis of Komiks-to-Film Adaptation a. Semiotics of Film xii (1) Theoretical Roots of Film Semiotics 60 (2) ) Film (as) Language 61 (3) Basic Film Narrative Units 62 (4) Christian Metz’s Grand Syntagmatique 63 (5) Raymond Bellour’s Segmenting/Analyzing 65 (6) Semiotics of Film Narrative/Film-Narratology 65 (7) Genre as Semiotic Code 67 b. The Vocabulary and Grammar of the Komiks Medium 70 (1) Comics as a form of reading 71 (2) The vocabulary and grammar of comics 72 3. Adaptation Theory and Criticism a. Formalist Mode of Film Adaptation 74 b. Contextual Modes of Adaptation 76 4. Social Film History 80 B. The Research Model and the Theory-Building Model 83 C. Definition of Terms 84 III. METHODS AND PROCEDURES A. Research Design 87 1. Theoretical Roots of Grounded Theory 87 2. Grounded Theory and Cinema Studies 89 xiii B. Research Methods 1. The Inventory as a Research Method 92 2. Documentary and Archival Research 93 a. Documentation 93 b. Duplication or the Securing of copies of extant texts 96 c. Management of the primary texts 96 3. Unstructured Interviews of Key Informants 97 C. Research Instruments 98 D. Concepts and Indicators 100 E. Sampling of Texts 102 F. Data Analysis 104 G. The Grounded Theory Process 106 H. Scope and Limitation of the Study 108 I. Research Schedule 109 V. RESULTS AND DISCUSSION: SEMIOTICS AND ADAPTATION CRITICISM OF SELECTED TEXTS A. Korido Komiks into Film: Revisioning Old Forms and Content in Bernardo Carpio (1951) 111 1. The “Sources” Of The Komiks Source 111 2. Film Adaptation Mode And Techniques: The Korido As Komiks As Film 116 3. Propelling The Romance Mode 125 B. Appropriation as Indigenization: Foreign and Popular Sources in Tulisang Pugot/Headless Bandit (1953) 131 1. A Confluence of Foreign and Popular Genres 131 2. Painting Local Color 136 3. Colonial Themes Invoked/Suppressed 147 xiv C. Filipino Comic-Vision in Kambal-Tuko/Conjoined[Siamese] Twins (1952) 1. Elements of Filipino Comedy Genre in Kambal-Tuko 156 2. Personality Comedians as Genre 164 D. Lapu-Lapu De-Coded: A Case Exemplar through Various Lenses 172 1. Lapu-Lapu: A Close Textual Analysis 172 2. Lapu-Lapu As An Exercise in the Semiotics of Film Adaptation a. Lapu-Lapu Read Through Metz’s 8 Syntagmatic Types 181 b. Analysis of Smaller Narrative Units in Lapu-Lapu (komiks and film) through Bellour’s Segmenting/Analysing 198 3. Lapu-Lapu as Historical Film 224 E. Summing Up 230 VI: A SOCIAL HISTORY OF PELIKULANG KOMIKS CIRCA EARLY 1950s A. The Social Importance of Recycling Stories for Cinema 231 1. A Culture of Recycling 231 2. Generic Mediation and the Impulse Towards Romance 236 3. A Tale of Two Visual Languages: Notes on the Verbality and Visuality of Filipinos a. Definition of komiks 246 b. Intersections between verbality and visuality 249 B. Appropriation as Indigenization: The Foreign and the Local in 1950s komiks-to-film Adaptation 252 1. Appropriating Foreign Genres And Motifs a. Residual Spanish Influences on the Fantasy-Adventure Komiks-turned-Film 252 b. Hollywood’s Impact: The Case of Fantasy-Adventure Komiks-turned-Film 254 xv 2. Indigenization/Vernacularization 258 C. The Institutional Matrix of 1950s Komiks-to-Film Adaptation 1. Producers as Critics 265 2. The Aura of the Stars 274 3. Fandom 279 D. The “Prevalent” Type of Adaptation: Status Quo Re-Embodied 289 E. Summing Up 298 VII. METAISSUES OF AN EMERGENT FILIPINO FILM ADAPTATION THEORY A. Reconstructing 1950s Komiks-to-Film Adaptation Through the Archive 299 B. Countering the Dominant Adaptation Discourse 307 C. The Trajectory of Adaptation Discourse and the Nature of Locally-Based Inquiry 312 VIII. TOWARDS A FILIPINO FILM ADAPTATION THEORY A. Major Concepts and Assumptions of the Theory 322 1. Filipino Source Text 323 2. Komiks-to-Film Adaptation Industry 327 3. Filipino Film Adaptation Mode and Form 337 4. Filipino Cycle of Genres 343 5. Filipino Komiks-to-Film Characters 347 6. Cultural Economy of Adaptation 351 B. Pelikulang Komiks: A Vernacular and Hybrid Theory of Filipino Film Adaptation 353 xvi IX. SUMMARY AND CONCLUSIONS A. Summary of the Study 377 1. A Semiotic Analysis and Adaptation Criticism of Selected Texts 378 2. Social History of the Film Adaptation of Komiks in the 1950s 380 3.
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