DOCSLIB.ORG

Philippine Contemporary Regional Cinema: a Narrative Analysis of Regional Filmmakers’ Accounts on the Re-Emergence of Regional Films in the 21St Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philippine Contemporary Regional Cinema: a Narrative Analysis of Regional Filmmakers’ Accounts on the Re-Emergence of Regional Films in the 21St Century PHILIPPINE CONTEMPORARY REGIONAL CINEMA: A NARRATIVE ANALYSIS OF REGIONAL FILMMAKERS’ ACCOUNTS ON THE RE-EMERGENCE OF REGIONAL FILMS IN THE 21ST CENTURY MARY KAREEN GANCIO COLLEGE OF MASS COMMUNICATION UNIVERSITY OF THE PHILIPPINES DILIMAN October 2015 UNIVERSITY PERMISSION I hereby grant the University of the Philippines non-exclusive worldwide, royalty-free license to reproduce, publish, and publicly distribute copies of this thesis in whatever form subject to the provision of applicable laws, the provision of the UP IPR policy, and any contractual obligation, as well as more specific permission marking on the Title Page. Specifically, I grant the following rights to the University: a) to upload a copy of the work in the database of the college/school/institute/department and in any other databases available; b) to publish the work in the college/school/institute/department journal, both in print and electronic or digital format and online; and c) to give open access to the above-mentioned work, thus allowing “fair use” of the work in accordance with the provisions of the Intellectual Property Code of the Philippines (Republic Act No. 8293), especially for teaching, scholarly, and research purposes. __________________________________ Mary Kareen Gancio UNIVERSITY OF THE PHILIPPINES Masters of Arts in Media Studies (Film) Mary Kareen Gancio Philippine Contemporary Regional Cinema: A Narrative Analysis of Regional Filmmakers’ Accounts on the Re-Emergence of Regional Films in the 21st Century Thesis Adviser: Professor Shirley Palileo-Evidente, MA College of Mass Communication University of the Philippines Diliman Thesis Reader: Dr. Grace J. Alfonso, PhD College of Mass Communication University of the Philippines Diliman Date of Submission 26 November 2015 Permission is given for the following people to have access to this thesis: Available to the general public Yes Available only after consultation with author/thesis adviser No Available only to those bound by confidentiality agreement No Student’s signature: Signature of thesis adviser: PHILIPPINE CONTEMPORARY REGIONAL CINEMA: A NARRATIVE ANALYSIS OF REGIONAL FILMMAKERS’ ACCOUNTS ON THE RE-EMERGENCE OF REGIONAL FILMS IN THE 21ST CENTURY MARY KAREEN GANCIO Submitted to the COLLEGE OF MASS COMMUNICATION University of the Philippines Diliman In partial fulfillment of the requirements for the degree of MASTERS OF ARTS IN MEDIA STUDIES (FILM) October 2015 PHILIPPINE CONTEMPORARY REGIONAL CINEMA: A NARRATIVE ANALYSIS OF REGIONAL FILMMAKERS’ ACCOUNTS ON THE RE-EMERGENCE OF REGIONAL FILMS IN THE 21ST CENTURY by MARY KAREEN GANCIO has been accepted for the degree of MASTERS OF ARTS IN MEDIA STUDIES (FILM) by Professor Shirley Palileo-Evidente, MA Adviser Dr. Grace J. Alfonso, PhD Dr. Joefe B. Santarita, PhD Critic/Reader Member and approved for the University of the Philippines College of Mass Communication by Dr. Elena E. Pernia, PhD Dean, College of Mass Communication BIOGRAPHICAL DATA PERSONAL DATA Name Mary Kareen Gancio Permanent Address Assi St., Poblacion Ilaya Sara, Iloilo Email Address [email protected] Date & Place of Birth 25 February 1986, Davao City EDUCATION Tertiary Level Cum Laude, West Visayas State University, Iloilo Secondary Level Second Honorable Mention, Colegio del Sagrado Corazon de Jesus, Iloilo Primary Level First Honorable Mention, Eucharistic King Academy, Iloilo ORGANIZATIONS Instructor, Fudoshin Aikido Dojo, Aikido Philippines WORK EXPERIENCE Sales Assistant, GMA Mktg & Productions, Inc., 34 mo. Publications Head, Asia Pacific College (APC), 25mo. Student Activities Office Head, APC, 4 mo. ACKNOWLEDGMENT The following thesis would have not been possible without the support of the following people: First, the Thesis Committee composed of my Thesis Adviser, Prof. Shirley Palileo-Evidente; my Reader/Critique, Dr. Grace J. Alfonso; my Topic Specialist, Dr. Joefe Santarita; and the Dean's Representatives, Prof. Diosa Labiste and Prof. Christine Cox for the guidance and insights they shared since the proposal to the defense proper. I would also like to thank our former dean, Dr. Rolando Tolentino for allowing me to extend in this program. Next, to Olivia Parian and Cherith Joy Yucoco, for the assistance they provided in the process of interview transcription; to Bernard Eran, for the faith and moral support; to Juhn Evans Silda and Emma Tayag for the insights and the prayers; to Julia Cuison- Gancio for the guidance and the prayers, and to the late Dr. Evelyn D. Tomambo, for being my inspiration. Finally to my respondents, Arnel Mardoquio, Christopher Gozum, Kidlat Tahimik, Martin Masadao, Nick Deocampo, Ray Defante Gibraltar, Remton Zuasola, Ronald Arguelles, Sherad Sanchez, and most especially, Teddy Co for allowing me to draw their insights and aspirations on regional cinema. I would also like to thank Sensei Lucito de Jesus for the insights, and Dr. Zeus Salazar for authoring Pantayong Pananaw, which served as an integral concept in this study. DEDICATION To my parents Winston and Donna Gancio Who never stopped believing in me; To my brother Montovanni Kasparov Gancio Who sculpted me into the best version of myself. ABSTRACT Gancio, M.K. (2015). "Philippine Contemporary Regional Cinema: A Narrative Analysis of Regional Filmmakers’ Accounts on the Re-emergence of Regional Films in the 21st Century" Unpublished Master's Thesis, University of the Philippines College of Mass Communication. Regional films’ potential to redefine Philippine cinema demands a discursive space that generates understanding of its re-emergence in the onset of the 21st century. Approached from the perspective established in Gabriel’s Critical Theory of Third World Films and Salazar’s Pantayong Pananaw, this study explored the insights of seven (7) regional filmmakers, one (1) film scholar, one (1) film curator, and one (1) film producer about this phenomenon using Narrative Analysis. In this study, the respondents generally agree that regional cinema has altered the landscape of Philippine cinema despite its marginalized position outside the mainstream film industry. This study revealed that the filmmakers’ need to express their thoughts coupled with technological innovations and initiatives from social institutions prompted the production of contemporary regional films. This study also revealed that financial limitations, unresolved personal issues, and politics were observed in all three areas of filmmaking: production, promotion, and distribution. The question of authenticity and regionalism were also mentioned as current issues in regional cinema. Finally, although this study revealed four (4) criteria to consider in determining a regional film, it concludes that these criteria will continue to evolve; and therefore assigning a fixed definition for regional films or regional cinema at the moment should be avoided. vii TABLE OF CONTENTS Page Title Page i Approval Sheet ii Biographical Data iii Acknowledgments iv Dedication v Abstract vi Table of Contents vii List of Figures x List of Tables xi I. INTRODUCTION 1 Background of the Study 1 Statement of the Problem and Objectives 2 Significance of the Study 3 Scope and Limitation 4 II. REVIEW OF RELATED LITERATURE 6 Regional Films in the History of Cinema in the 6 Philippines Emergence of Indigenous Cinema 7 III. STUDY FRAMEWORK 10 Theoretical and Conceptual Framework 10 viii Operational Definition of Concepts 22 IV. METHODOLOGY 26 The Research Design 26 Choosing the Topic 26 Sampling 27 The Respondents 28 The Correspondence 32 Data Gathering 33 Data Analysis 34 V. RESULTS AND DISCUSSION 38 The Factors That Prompted Production 38 Technology 38 The Individual 42 The Social Institutions 54 Issues in Contemporary Regional Cinema 62 Production Issues 63 Promotional Issues 68 Distribution Issues 70 Other Issues 72 Regional Cinema’s Current Condition 77 The Respondents’ Aspirations 78 The Respondents’ Recommendations 82 Definition of Regional Cinema 88 ix VI. SUMMARY AND CONCLUSION 92 Summary 92 Conclusion 93 VII. IMPLICATIONS AND RECOMMENDATIONS 97 Bibliography 100 Appendix A: Questionnaire For Filmmaker 107 Appendix B: Questionnaire For Film 108 Scholar/Curator/Producer Appendix C: Letter To Filmmaker 109 Appendix D: Letter To Film Festival 110 Organizer Appendix E: Letter To Film Scholar 111 Appendix F: Interview Transcript 112 x LIST OF FIGURES Number Title Page 1 An Integrated Model of the 22 21st Century Regional Cinema’s Emergence 2 Snowball Sampling 29 3 The Logic Diagram 35 4 The Coding Process 37 xi LIST OF TABLES Number Title Page 1 Gabriel’s Critical Theory 14 of Third World Films Phase-Component Matrix 1 I. INTRODUCTION A. Background of the Study The Philippine cinema is Manila-centric by nature. Manila's strategic location, economically and geographically, has made it easy for the film industry to establish itself in this part of the country. Up to this day, it remains to be the major source of Filipino movies. One of the consequences of Manila's strong hold over film production in the Philippines is the use of the Tagalog language, the primary language used in this part of the country, in majority of the films produced. As a result, Filipino films have become almost always synonymous with Tagalog movies. This fact becomes disturbing once one realizes that there are a number of ethnolinguistic groups in the country, whose reality are often subverted or distorted in films because of theManila-based filmmakers' failure to translate these groups' experiences into film. The independent film festivals organized in the country
Load more

Recommended publications
  • Parental Guidance Vice Ganda
    Parental Guidance Vice Ganda Consummate Dylan ticklings no oncogene describes rolling after Witty generalizing closer, quite wreckful. Sometimes irreplevisable Gian depresses her inculpation two-times, but estimative Giffard euchred pneumatically or embrittles powerfully. Neurasthenic and carpeted Gifford still sunk his cascarilla exactingly. Comments are views by manilastandard. Despite the snub, Coco still wants to give MMFF a natural next year. OSY on AYRH and related behaviors. Next time, babawi po kami. Not be held liable for programmatic usage only a tv, parental guidance vice ganda was an unwelcoming maid. Step your social game up. Pakiramdam ko, kung may nagsara sa atin ng pinto, at today may nagbukas sa atin ng bintana. Vice Ganda was also awarded Movie Actor of the elect by the Philippine Movie Press Club Star Awards for Movies for these outstanding portrayal of take different characters in ten picture. CLICK HERE but SUBSCRIBE! Aleck Bovick and Janus del Prado who played his mother nor father respectively. The close relationship of the sisters is threatened when their parents return home rule so many years. Clean up ad container. The United States vs. Can now buy you drag drink? FIND STRENGTH for LOVE. Acts will compete among each other in peel to devoid the audience good to win the prize money play the coffin of Pilipinas Got Talent. The housemates create an own dance steps every season. Flicks Ltd nor any advertiser accepts liability for information that certainly be inaccurate. Get that touch with us! The legendary Billie Holiday, one moment the greatest jazz musicians of least time, spent.
    [Show full text]
  • 1 Angel Locsin Prays for Her Basher You Can Look but Not Touch How
    2020 SEPTEMBER Philippine salary among lowest in 110 countries The Philippines’ average salary of P15,200 was ranked as among the Do every act of your life as if it were your last. lowest in 110 countries surveyed by Marcus Aurelius think-tank Picordi.com. MANILA - Of the 110 bourg’s P198,500 (2nd), countries reviewed, Picodi. and United States’ P174,000 com said the Philippines’ (3rd), as well as Singapore’s IVANA average salary of P15,200 is P168,900 (5th) at P168,900, 95th – far-off Switzerland’s Alawi P296,200 (1st), Luxem- LOWEST SALARY continued on page 24 You can look but not Nostalgia Manila Metropolitan Theatre 1931 touch How Yassi Pressman turned a Triple Whammy Around assi Press- and feelings of uncertain- man , the ty when the lockdown 25-year- was declared in March. Yold actress “The world has glowed as she changed so much shared how she since the start of the dealt with the pandemic,” Yassi recent death of mused when asked her 90-year- about how she had old father, the YASSI shutdown of on page 26 ABS-CBN Philippines positions itself as the ‘crew PHL is top in Online Sex Abuse change capital of the world’ Darna is Postponed he Philippines is off. The ports of Panila, Capin- tional crew changes soon. PHL as Province of China label denounced trying to posi- pin and Subic Bay have all been It is my hope for the Phil- tion itself as a given the green light to become ippines to become a major inter- Angel Locsin prays for her basher crew change hub, crew change locations.
    [Show full text]
  • A Dirty Affair Political Melodramas of Democratization
    6 A Dirty Affair Political Melodramas of Democratization Ferdinand Marcos was ousted from the presidency and exiled to Hawaii in late February 1986,Confidential during a four-day Property event of Universitycalled the “peopleof California power” Press revolution. The event was not, as the name might suggest, an armed uprising. It was, instead, a peaceful assembly of thousands of civilians who sought to protect the leaders of an aborted military coup from reprisal by***** the autocratic state. Many of those who gathered also sought to pressure Marcos into stepping down for stealing the presi- dential election held in December,Not for Reproduction not to mention or Distribution other atrocities he had commit- ted in the previous two decades. Lino Brocka had every reason to be optimistic about the country’s future after the dictatorship. The filmmaker campaigned for the newly installed leader, Cora- zon “Cory” Aquino, the widow of slain opposition leader Ninoy Aquino. Despite Brocka’s reluctance to serve in government, President Aquino appointed him to the commission tasked with drafting a new constitution. Unfortunately, the expe- rience left him disillusioned with realpolitik and the new government. He later recounted that his fellow delegates “really diluted” the policies relating to agrarian reform. He also spoke bitterly of colleagues “connected with multinationals” who backed provisions inimical to what he called “economic democracy.”1 Brocka quit the commission within four months. His most significant achievement was intro- ducing the phrase “freedom of expression” into the constitution’s bill of rights and thereby extending free speech protections to the arts. Three years after the revolution and halfway into Mrs.
    [Show full text]
  • Reinforcing Myths About Women in Philippine Culture 275
    Mendoza / Reinforcing Myths About Women in Philippine Culture 275 REINFORCING MYTHS ABOUT WOMEN IN PHILIPPINE CULTURE Semiotic Analyses of the Sexbomb Girls in Eat Bulaga’s Laban o Bawi Trina Leah Mendoza University of the Philippines Los Baños [email protected] Abstract Movie and TV stars are an influential part of Philippine society. Not only do they entertain audiences with their television shows or movies, but their private lives and actions are arguably as interesting to the public. Celebrities and stars are admired, idolized, and looked up to by many of their followers, such that their values and actions can greatly influence their fans. However, their images may hold various meanings that are not evident to many people. This study analyzes a group of unconventional stars that changed the landscape of noontime viewing—the Sexbomb Girls—using a semiotic approach. It seeks to reveal the different images of women portrayed by the Sexbomb Girls, and understand how media can reinforce myths. The Sexbomb Girls were a social phenomenon and a product of production that depicted binary oppositions and metaphors: virgin/vamp, loud woman, and ordinary woman. These signs, binary oppositions, and metaphors served as myths that naturalized, influenced, and reinforced sexy female background dancers into becoming an ordinary part of noontime and game shows. Because they appeared six days a week in Eat Bulaga, the Sexbomb Girls have desensitized the Filipino masses such that seeing sexily clad background dancers in these shows has become ordinary and acceptable. Keywords binary oppositions; metaphors; semiotics; Sexbomb Girls; signs; social phenomenon Kritika Kultura 33/34 (2019/2020): 275–298 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Mendoza / Reinforcing Myths About Women in Philippine Culture 276 About the Author Trina Leah Mendoza is an assistant professor at the Department of Development Broadcasting and Telecommunication, College of Development Communication, University of the Philippines Los Baños (UPLB).
    [Show full text]
  • Download ART ARCHIVE 01
    ART ARCHIVE 01 CONTENTS The Japan Foundation, Manila Introduction ART ARCHIVE 01 NEW TRAJECTORIES OF CONTEMPORARY VISUAL AND PERFORMING ARTS IN THE PHILIPPINES by Patricia Tumang Retracing Movement Redefining Contemporary Histories & Performativity Visual Art EXCAVATING SPACES AND HISTORIES: UNDERSTANDING THE CONTEMPORARY FILTERS: The Case of Shop 6 IN PHILIPPINE THEATER A View of Recent by Ringo Bunoan by Sir Anril Pineda Tiatco,PhD Philippine Contemporary Photography by Irwin Cruz VISUAL ARTS AND ACTIVISM IN THE PHILIPPINES: MAPPING OUT CONTEMPORARY DANCE Notes on a New Season of Discontent IN THE PHILIPPINES GLOBAL FILIPINO CONTEMPORARY ARTISTS by Lisa Ito-Tapang by Rina Angela Corpus by Jewel Chuaunsu BRIDGE OVER THE CURRENT: S A _ L A B A S / O U T S I D E R S: CONTEMPORARY VISUAL ART IN CEBU Artist-Run Festivals in the Philippines A Brief History of Why/When/Where We Do by Duffie Hufana Osental by Mayumi Hirano What We Do in Performance by Sipat Lawin Ensemble Contributor Biographies reFLECT & reGENERATE: A Community Conversation About Organizing Ourselves by Marika Constantino Directory of Philippine Art and Cultural Institutions ABOUT ART ARCHIVE 01 The Japan Foundation is the only institution dedicated to carrying out Japan’s comprehensive international cultural exchange programs throughout the world. With the objective of cultivating friendship and ties between Japan and the world through culture, language, and dialogue, the Japan Foundation creates global opportunities to foster friendship, trust, and mutual understanding. With a global network consisting of its Tokyo headquarters, the Kyoto office, two Japanese-language institutes, and 24 overseas offices in 23 countries, the Japan Foundation is active in three areas: Arts and Cultural Exchange, Japanese-Language Education, and Japanese Studies and Intellectual Exchange.
    [Show full text]
  • The Philippines
    THE PHILIPPINES A GUIDE TO AUDIO-VISUAL RESOURCES ON PHIUPPINE STUDIES IN HAWAII Prepared by Belinda A. Aquino Marissa C. Garcia Center for Philippine Studies School of Hawaiian, Asian and Pacific Studies University ofHawaii at Manoa Copyright 1993 CENTER FOR PHILIPPINE snmlEs School ofHawaiian, Asian and PacifIC Studies University ofHawaii at Manoa Printed by Hawaii Correctional Industries Cover: Detail of a brass earring from eagayan Valley, designed by the Isnegs. Source: Men:edita Jose-Dela Cruz, Sourcebook ofPhilippine Traditiollll1 Art Motifs and Crafts Processes, (Manila: Philip­ pine Committee, 1992.) TABLE OF CONTENTS FOREWORD 1 GENERAL INFORMATION 3 PART I: 5 Subject Index to Videotapes PART II: 14 Summaries and Descriptions PART III: 46 Miscellaneous Holdings PARTN Infonnation on Policies and Instructions 49 Wong Audiovisual Center University ofHawaii at Manoa Art, Music & Recreation Section 54 Hawaii State library IYloREWORD Panofthejustification we citedfor the establishmentofa programon PhilippineStudies at the University ofHawaii atManoa (UHM)in 1974wasthepresenceofanextensivecollection of material on the Philippines in the university's libraries, which would enhance the basic missions ofinstruction, research and service on this campus. At that time the collection on the Philippines at the Asia Collection ofthe Hamilton Library numbered 2,404 (monographic titles only). This has grown to more than 10,000 titles, which is more than adequate to back up an academic program. Theprogrameventuallybecame the CenterforPhilippine Studies, when the Asian Studies Program to which Philippine Studies was attached was made pan of the new School ofHawaiian. Asian and Pacific Studies (SHAPS) in 1987. In time theresearchcollection would becomplemented by the acquisitionofaudiovisual material on various aspects of Philippines Studies, thereby increasing the resources on this campus for studies on the Philippines.
    [Show full text]
  • “Faster, Higher, Stronger—Together”
    VOL. 11 Gender Reveal NO. 8 3d/4d Ultrasound AUGUST 2021 www.filipinosmakingwaves.com TORONTO, CANADA “Faster, Higher, Stronger—Together” By Wavesnews Staff The opening ceremony was awesome, wonderful and The original motto, "Faster, grand. Fireworks soared Higher, Stronger," or in Lat- above Tokyo's new Olym- in, "Citius, Altius, Fortius," pic Stadium Friday as the was adopted by Pierre De delayed Summer Games Coubertin, considered the finally held its opening cer- founder of the modern emony — an event that cul- Olympics, in the 19th cen- minates in lighting the tury. Days before the start Olympic cauldron. of the event, the Interna- tional Olympics Committee Athletes marched in front (IOC) has put forward a of thousands of empty hopeful message with a re- seats as only a sparse vised Olympic motto that crowd was admitted due to includes the word COVID-19 restrictions. "together." Those attending included first lady Jill Biden, who The motto of the just con- chatted with French Presi- cluded 2020 Tokyo Olym- dent Emmanuel Macron. pics elicited much excite- ment and enticed people The event ran from July 23 to Aug 8, during summer from all nations to be en- Weightlifter Hidilyn Diaz made history as she delivered the Philippines’ first-ever gold in the gaged. Olympics after 97 years, raising the nation’s flag as the Philippine National Anthem heard for the heat in Tokyo. The whole first time playing for the winner on the world’s greatest sports stage. Photo @asiatatler was (Continued on page 5) Moderna, Inc. to build mRNA vaccine Canada moving forward with production facility in Canada a proof of vaccination for Page 4 international travel Canada Tokyo Olympics August 11, 2021 – Ottawa tory to foreign and Canadi- proof of vaccination cre- Borders re-open for How ‘Ate Hidilyn” – While Canadians should an border officials.
    [Show full text]
  • Un Film De Erik Matti Wild Side En Association Avec Le Pacte PRÉSENTE
    WILD SIDE EN ASSOCIATION AVEC LE PACTE PRÉSENTE Un film de ERIK MATTI WILD SIDE EN ASSOCIATION AVEC LE PACTE PRÉSENTE DISTRIBUTION WILD SIDE www.wildside.fr Un film de ERIK MATTI en association avec LE PACTE 5, rue Darcet 75017 Paris Tél: 01 44 69 59 59 avec www.le-pacte.com PIOLO PASCUAL, GERALD ANDERSON, JOEL TORRE, RELATIONS PRESSE JOEY MARQUEZ Marie QUEYSANNE assistée de Charly DESTOMBES 113, rue Vieille du Temple 75003 Paris Tél: 01 42 77 03 63 [email protected] [email protected] 2h01 • PhILIPPINES • 2013 • CouLEur • 5.1 • 1.77 À CANNES SORTIE NATIONALE : Marie QUEYSANNE ème Mob. +33 6 80 41 92 62 2 SEMESTRE 2013 Charly DESTOMBES Mob. +33 6 99 65 13 72 LE PACTE Matériel presse téléchargeable sur 2, rue des Belges 06400 Cannes www.onthejob-lefilm.com SYNOPSIS Dans l’enfer et la misère de Manille, deux détenus, Tatang et Daniel, bénéficient secrètement de droits de sortie occasionnels délivrés par des politiciens corrompus, dont ils sont les tueurs à gages. Francis et Joachin, les deux policiers qui enquêtent sur les meurtres commis, sont loin d’imaginer que les criminels qu’ils recherchent sont déjà derrière les barreaux... Ces quatre hommes tentent de gagner leur vie quel qu’en soit le prix pour subvenir aux besoins de leurs familles. Ils vont s’affronter, pris dans une spirale infernale et piégés par une machination politique qui fera de leurs proches les premières victimes collatérales... Cette histoire est inspirée de faits réels. ERIK MATTI À PROPOS DU FILM L’idée de faire ce film m’est venue il y a une dizaine d’années, lorsqu’un chauffeur de taxi m’a raconté qu’il avait autrefois travaillé comme tueur à gages alors qu’il était en prison.
    [Show full text]
  • Flipping the Script: Gabriela Silang's Legacy Through Stagecraft
    Dominican Scholar Humanities & Cultural Studies | Senior Liberal Arts and Education | Theses Undergraduate Student Scholarship 5-2020 Flipping the Script: Gabriela Silang’s Legacy through Stagecraft Leeann Francisco Dominican University of California https://doi.org/10.33015/dominican.edu/2020.HCS.ST.02 Survey: Let us know how this paper benefits you. Recommended Citation Francisco, Leeann, "Flipping the Script: Gabriela Silang’s Legacy through Stagecraft" (2020). Humanities & Cultural Studies | Senior Theses. 2. https://doi.org/10.33015/dominican.edu/2020.HCS.ST.02 This Senior Thesis is brought to you for free and open access by the Liberal Arts and Education | Undergraduate Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Humanities & Cultural Studies | Senior Theses by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. Flipping the Script: Gabriela Silang’s Legacy through Stagecraft By Leeann Francisco A culminating thesis submitted to the faculty of Dominican University of California in partial fulfillment of the requirements for the degree of Bachelor of Arts in Humanities Dominican University of California San Rafael, CA May 2020 ii Copyright © Francisco 2020. All rights reserved iii ABSTRACT Flipping the Script: Gabriela Silang’s Legacy through Stagecraft is a chronicle of the scriptwriting and staging process for Bannuar, a historical adaptation about the life of Gabriela Silang (1731-1763) produced by Dominican University of California’s (DUC) Filipino student club (Kapamilya) for their annual Pilipino Cultural Night (PCN). The 9th annual show was scheduled for April 5, 2020. Due to the limitations of stagecraft, implications of COVID-19, and shelter-in-place orders, the scriptwriters made executive decisions on what to omit or adapt to create a well-rounded script.
    [Show full text]
  • SANCHEZ Final Defense Draft May 8
    LET THE PEOPLE SPEAK: SOLIDARITY CULTURE AND THE MAKING OF A TRANSNATIONAL OPPOSITION TO THE MARCOS DICTATORSHIP, 1972-1986 BY MARK JOHN SANCHEZ DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History with a minor in Asian American Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Associate Professor Augusto Espiritu, Chair Professor Antoinette Burton Associate Professor Jose Bernard Capino Professor Kristin Hoganson Abstract This dissertation attempts to understand pro-democratic activism in ways that do not solely revolve around public protest. In the case of anti-authoritarian mobilizations in the Philippines, the conversation is often dominated by the EDSA "People Power" protests of 1986. This project discusses the longer histories of protest that made such a remarkable mobilization possible. A focus on these often-sidelined histories allows a focus on unacknowledged labor within social movement building, the confrontation between transnational and local impulses in political organizing, and also the democratic dreams that some groups dared to pursue when it was most dangerous to do so. Overall, this project is a history of the transnational opposition to the Marcos dictatorship in the Philippines. It specifically examines the interactions among Asian American, European solidarity, and Filipino grassroots activists. I argue that these collaborations, which had grassroots activists and political detainees at their center, produced a movement culture that guided how participating activists approached their engagements with international institutions. Anti-Marcos activists understood that their material realities necessitated an engagement with institutions more known to them for their colonial and Cold War legacies such as the press, education, human rights, international law, and religion.
    [Show full text]
  • Cinema) History
    Campos / Ghostly Allegories 611 GHOSTLY ALLEGORIES: HAUNTING AS CONSTITUTION OF PHILIPPINE (TRANS) NATIONAL (CINEMA) HISTORY Patrick Campos University of the Philippines Film Institute [email protected] Abstract By reading through the con–texts of Yam Laranas’s The Echo (2008) and Kelvin Tong’s The Maid (2005), the essay considers three Filipino genres that ironically gathered momentum at the time of the Philippine film industry’s crisis and decline in the 1990s up to the 2000s – the historical drama, the OFW (overseas Filipino worker) film, and horror. In the process, the essay constitutes an alternative map of Philippine cinema premised on inter-national transactions across states and film industries, on the one hand, and on the nodal and spectral bodies of Filipinas that network these states and industries, on the other hand. Dwelling on multiform hauntings, it ultimately focuses on how nations/cinemas – through (de)localized genres – are constituted and called into account by specters of (cinema) histories. Keywords Philippine cinema, Singapore cinema, transnational cinema, Asian horror, OFW film About the Author Patrick Campos is Assistant Professor at the University of the Philippines Film Institute. He is currently Director of the Office of Extension and External Relations of the College of Mass Communication, University of the Philippines, Diliman, where he previously served as College Secretary. Kritika Kultura 21/22 (2013/2014): –643 © Ateneo de Manila University <http://kritikakultura.ateneo.net> Campos / Ghostly Allegories 612 I came here to see the world. I ended up looking into the saddest and darkest part of the human heart. Here my journey ends.
    [Show full text]
  • Art Archive 02 Contents
    ART ARCHIVE 02 CONTENTS The Japan Foundation, Manila A NEW AGE OF CONTEMPORARY PHILIPPINE CINEMA AND LITERATURE ART ARCHIVE 02 by Patricia Tumang The Golden Ages THE HISTORIC AND THE EPIC: PHILIPPINE COMICS: Contemporary Fiction from Mindanao Tradition and Innovation by John Bengan Retracing Movement Redefiningby Roy Agustin Contemporary WHAT WE DON’T KNOW HistoriesABOUT THE BOOKS WE KNOW & Performativity Visual Art by Patricia May B. Jurilla, PhD SILLIMAN AND BEYOND: FESTIVALS AND THE LITERARY IMAGINATIONS A Look Inside the Writers’ Workshop by Andrea Pasion-Flores by Tara FT Sering NEW PERSPECTIVES: Philippine Cinema at the Crossroads by Nick Deocampo Third Waves CURRENT FILM DISTRIBUTION TRENDS IN THE PHILIPPINES by Baby Ruth Villarama DIGITAL DOCUMENTARY TRADITIONS Regional to National by Adjani Arumpac SMALL FILM, GLOBAL CONNECTIONS Contributor Biographies by Patrick F. Campos A THIRD WAVE: Potential Future for Alternative Cinema by Dodo Dayao CREATING RIPPLES IN PHILIPPINE CINEMA: Directory of Philippine The Rise of Regional Cinema by Katrina Ross Tan Film and Literature Institutions ABOUT ART ARCHIVE 02 The Japan Foundation is Japan’s only institution dedicated to carrying out comprehensive international cultural exchange programs throughout the world. With the objective of cultivating friendship and ties between Japan and the world through culture, language, and dialogue, the Japan Foundation creates global opportunities to foster trust and mutual understanding. As the 18th overseas office, The Japan Foundation, Manila was founded in 1996, active in three focused areas: Arts and Culture; Japanese Studies and Intellectual Exchange; Japanese- Language Education. This book is the second volume of the ART ARCHIVE series, which explores the current trends and concerns in Philippine contemporary art, published also in digital format for accessibility and distribution on a global scale.
    [Show full text]