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INSTABRIGHT E-GAZETTE INSTABRIGHT e-GAZETTE ISSN: 2704-3010 Volume I, Issue IV May 2020 Available online at www.instabrightgazette.strikingly.com ********************************************************************************************************* UNDERSCORING THE HUMAN NATURE IN THE AWARD-WINNING SOCIAL REALIST FILMS OF BRILLANTE MENDOZA Domingo S. Sagnip Jr., Ph.D Department of English Senior High School Dulong Bayan Division of Bacoor City Abstract The study underscored the human nature in the award-winning social realist films of Brillante Mendoza. Specifically, the study analyzed the human aspects in the films Masahista, Tirador, Serbis, Kinatay, and Thy Womb. Content analysis qualitative method of research was employed in analyzing social realism in the award-winning films purposely selected on the bases of their listing as award winning films. Data gathered from the five (5) award-winning films were analyzed based on their contents and reflection of social realism. Data gathered from the five (5) award-winning films were purely analyzed based on their contents and reflection of social realism with the aim of providing a scaffold for an in-depth examination. Focused Group Discussion (FGD) was also used to obtain independent expert analysis on the selected films of Brillante Mendoza, while triangulation was used by the researcher to corroborate the result of his own investigation. Data gathered were analyzed comprehensively based on Levi-Strauss Structuralism Theory to come up with valid findings on the research problem about social realist films. The study revealed that the film Masahista was characterized by sexual gratification, familial love, conflict, emotional responses, sense of forgiveness, concept of alienation, and deception. Tirador on the other part featured concept of survival, devotion, familial love, and white lies as its picture of the human nature. Sexual behavior, conflict, jealousy, and compassion dotted the film Serbis while clutching a knife, family support, respect to humanity, and moral conscience characterized Kinatay film. Finally, Thy Womb portrayed self-entitlement, unselfishness, discontentment, egocentrism, and divergence as characteristic part of social realist film. The study concluded that traits of human nature as depicted in the award-winning social realist films of Brillante Mendoza broadens viewers’ perceptions on their fellowmen and helps them become indiscriminating and open- minded. Hence, it is recommended that literary writers and indie filmmakers should continue crafting good literary works that integrate insight on human nature. Keywords: Brillante Mendoza, Tirador, Serbis, Kinatay, Thy Womb, Masahista, social realism, film, human nature ********************************************************************************************************* Editorial Team Editor-in-Chief: Alvin B. Punongbayan Associate Editor: Andro M. Bautista Managing Editor: Raymart O. Basco Web Editor: Nikko C. Panotes Manuscript Editors / Reviewers: Chin Wen Cong, Christopher DC. Francisco, Camille P. Alicaway, Pinky Jane A. Perez, Mary Jane B. Custodio, Irene H. Custodio, Mark-Jhon R. Prestoza, Keive O. Casimiro, Rjay C. Calaguas, Mario A. Cudiamat, Jesson L. Hero, Albert Bulawat ********************************************************************************************************* INSTABRIGHT e-GAZETTE ISSN: 2704-3010 Volume I, Issue IV May 2020 Available online at www.instabrightgazette.strikingly.com ********************************************************************************************************* 1. INTRODUCTION The society is a theatre of human activities, often reflected through films. It may be bad or good, a romance-comedy, a tragedy, an action or adventure film, but the focus is still man and his society, through the characters who live a social life in some way or the other. Some of them are shown experiencing discrimination, poverty, alienation, and frustration in the film, particularly the social realist films which depict the real social conditions of the lower middle class. Specifically, this kind of film genre usually presents characters that belong to the classless society in realistic ways. It involves individual, social and cultural changes in all the spheres of life with their intricacies and nuances. It tackles themes about domestic violence, drug and alcohol abuse, gang and knife crime, teenage pregnancy, explicit sexual relationship, societal integration, inequality, and discrimination. Social realist films focus on the everyday lives of poor and working class communities (Ursell, 2016). They are insightful creations expressing the social behaviors and actions of people typical of a mixed social class, particularly that involving the working class and nonworking class group of people. For instance, many social realist films advocate for the dignity and rights of women by portraying unfortunate scenarios of indignity and violation of right of women. As such they challenge the society to do what it can to end the subjugation of women and girls around the world. Chauvinism and patriarchy which undergird rape of women, oppression of young men and women whose sexuality frightens members of the community. Though the films are often criticizing the social structures that reinforced bleak conditions, it also maintained a focus on family and celebrated community solidarity. Among the themes of social realist films are poverty, war on drugs, murder, homosexuality, racism, religious dignity, economic injustice, sexual trafficking, sexual abuse, and violation of women’s rights. They are the real problems that are common in a society; social issues that the ordinary people usually encounter. Thus, some development scientists and social workers see social realist films as effective channel of communicating character molding content and promoting cultural integration for peace building. Brillante Mendoza is a household name in social realist films, craftily depicting the lives of ordinary people in extraordinary situations against the backdrop issues that plague the country. His films are the reflection of Filipino lives, their poverty but with respect for their courage and human dignity. He considers his films as an advocacy and not as a commercial product because he wanted to touch and educate the Filipino audience in the right way (Mayordomo, 2015). Implicitly, Brillante Mendoza’s films depict societal realities - the cultural variations, behaviors, social activities, and group dynamics. However, the presumption does not predict in specific terms the nature of social interactions and expressions that characterize his films. That is, there is no technique other empirical (content) analysis that states with certainty attributes that characterize Brillante Mendoza’s films; whether the attributes ********************************************************************************************************* Editorial Team Editor-in-Chief: Alvin B. Punongbayan Associate Editor: Andro M. Bautista Managing Editor: Raymart O. Basco Web Editor: Nikko C. Panotes Manuscript Editors / Reviewers: Chin Wen Cong, Christopher DC. Francisco, Camille P. Alicaway, Pinky Jane A. Perez, Mary Jane B. Custodio, Irene H. Custodio, Mark-Jhon R. Prestoza, Keive O. Casimiro, Rjay C. Calaguas, Mario A. Cudiamat, Jesson L. Hero, Albert Bulawat ********************************************************************************************************* INSTABRIGHT e-GAZETTE ISSN: 2704-3010 Volume I, Issue IV May 2020 Available online at www.instabrightgazette.strikingly.com ********************************************************************************************************* observed under human aspect are similar or vary in each social realist film. Hence, in this study of the award-winning social realist films of Brillante Mendoza, namely: (1) Masahista (The Masseur), (2) Tirador (Slingshot) (3) Serbis (Service), (4) Kinatay (Butchered); and (5) Thy Womb were brought into analysis. 2. OBJECTIVE OF THE STUDY The major objective of the study is to underscore the human nature in the award- winning social realist films of Brillante Mendoza (Masahista, Tirador, Serbis, Kinatay and Thy Womb). Specifically, the study analyzed the following attributes constituting the human aspects of the named films: sexual gratification, familial love, conflict, emotional responses, sense of forgiveness, concept of alienation, deception, concept of survival, devotion, familial love, white lies, sexual behavior, conflict, jealousy, compassion, clutching a knife, family support, respect to humanity, moral conscience, self-entitlement, unselfishness, discontentment, egocentrism, and divergence. 3. THEORETICAL FRAMEWORK The study is based on the structuralism theory of Claude Levi-Strauss (1955), the father of modern anthropology and one of the key figures of structuralism. His theory asserts that culture is a system with underlying structures that are common to all societies regardless of their differences. Through his analyses, he shows that patterns of structures including behavior and thought are universal to all societies, and rejects the concept of primitive and modern mind, arguing that all men have the same intellectual potential. He also stresses that all people think of the world around them in terms of binary opposites such as up and down, life and death, and others; therefore every culture can be understood in these terms. In social realist films, binary opposites can be seen within the conflict between the main character and the external forces
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