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

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

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 that surround him. These external forces may be the different social issues that he encounters as he struggles in life. The theory of realism as it applies to the study demonstrates the practice of fidelity to nature, or to real life and to accurate representation without idealization of everyday life. It puts emphasis on detachment and objectivity, along with lucid but restrained social criticism. It denotes excessive minuteness of detail or preoccupation with trivial, sordid, or squalid subjects.

********************************************************************************************************* 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

4. METHODOLOGY

This study employed the content analysis qualitative method of research in analyzing social realism in the award-winning films of Brillante Mendoza with specific focus on the human aspects (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). These films were 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. In selecting the films, first, the researcher did a research on the movies of Brillante Mendoza to find out which of the films had received an award or recognition. Second, he went over each of the five (5) films he had previously watched for its content, with particular interest in the human nature. The researcher also conducted Focus Group Discussion with Language and Literature teachers who had also watched the five (5) films selected for this study, to determine their understanding of the films as a reflection of social realism. The selected five (5) films of Brillante Mendoza were subjected to independent analysis by other researchers and teachers, using the statement of the problem as their basis of analyses. In addition to focus group discussion, the researcher used triangulation to corroborate the result of his own investigation. The data gathered after viewing each film were analyzed comprehensively based on Levi-Strauss Structuralism Theory to come up with the valid findings and conclusions related to the research problem about social realist films. The analysis focused on the identification of social realism reflected in the films vis-à-vis the stated attributes constituting the human nature.

5. RESULT AND DISCUSSION

Human Nature in the Film Masahista (2005) Table 1 shows the different insights to human nature in the film Mashista. It is supported by the answers of the informants in the focus group discussion with their answers to the question: How does Brillante Mendoza show insight to human nature in the film “Masahista”? Informant 1: “Masahista, Tirador, Serbis, and Kinatay feature sex, lust, and affection as part of human nature. The four films clearly show that sex is a necessity to human beings as the main characters in these films find ways just to have sexual intercourse with their respective partners and “clients” even in an immoral way.” Informant 2: “Masahista shows ********************************************************************************************************* 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 ********************************************************************************************************* that it is human nature to find pleasure in sexual activity.” Informant 3: “The film Masahista believes that it is human nature to find pleasure in sexual activity, and a masseur knows it, so he offers not only massage services to his costumers but also gives sexual services to them.” Informant 4: “Masahista considers the desire for sexual activity as human nature. It depicts a person, a gay character, in a private room, which is a witness to love and sin.” Informant 5: “In the film Masahista, sexual gratification is dominant, showing how desperate some gays are. It is all right for them to give money just to satisfy their sexual desires. Love for family is also exhibited in the film.”

Table 1: Insight to Human Nature in the Film Masahista (2005) Human Nature Lines/Scenes from the Film Sexual Gratification Human nature is the composite of human instinct. One such instinct is sexual behavior. Iliac works in a massage parlor where he has his regular clients as well as newcomers, each of whom pays for massage and tips for all the 'extras' he is more than willing to offer for a price. These customers are willing to pay the masseurs just to satisfy their sexual gratification even though they know it is immoral acts. This proves that sex is part of human nature. Familial Love Largely scorned and neglected, Iliac has to revisit painful memories regarding his conflict and constant disappointment with his now-deceased father. Despite the resentment Iliac feels towards his late father for abandoning the family and embarking on a suicidal alcohol binge, the lovelorn youth nevertheless makes the journey home to be there for his grieving mother and for the arrangement of his father’s burial. In this scenario, it is Iliac’s familial love that prevails, which is a part of human nature. Conflict The film is a close examination of the old conflict between Iliac and his father, expectations and disappointments between Iliac and his customers, and needs to fulfill between Iliac and his girlfriend. Conflict, as a part of human nature, usually derives from the viewpoints, values, or personal characteristics of the parties involved. It can also be found in the workplace where competition is displayed by the workers. 77

Emotional As portrayed in the film, different characters show different Responses emotions such as the hatred of Iliac and his family towards their father; the happiness and satisfaction that the costumers of the massage parlor get from the masseurs; the sadness that Iliac’s family feel when their father died; and the feeling of guilt that Iliac’s girlfriend shows as she opposes the nature of his job. All of these emotional responses are part of human nature since by instinct these are the common reactions of the people who have experienced the same situations. Sense of Despite the odds and conflicts that a man experiences with the Forgiveness other persons, still, he develops his sense of forgiveness because by nature forgiveness is inherent in man. This is what Iliac’s family shows when they forgive their father by accepting him during the difficult time despite his betrayal. Concept of With the massage as both the medium and “service,” maleness 142 Alienation becomes an indefinite undertaking for the expert. If his performance falls short of the expected display of prowess, then musculature needs not be a primary criterion in purchasing the goods of masculinity. If the pleasure of the visual matches that of the performative, only then can man preserve his mythic wholeness. Deception Iliac plays the role of the innocent young masseur with his charming looks and killer smile as tactics to attract customers. When they have fallen in his trap, he then uncovers his true and aggressive self, and releases the beast inside of him. Deceiving his customer to make them grant his request or follow his order is a part human nature. Source: Film Content Analysis (2019)

Human Nature in the Film Tirador (2007)

The discussion in Table 2 shows the different insights to human nature in the film Tirador. It is supported by the answers of the informants in the focus group discussion with their answers to the question: How does Brillante Mendoza show insight to human nature in the film “Tirador”? Informant 1: “Masahista, Tirador, Serbis, and Kinatay feature sex, lust, and affection as part of human nature. The four films clearly show that sex is a necessity to human ********************************************************************************************************* 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 ********************************************************************************************************* beings as the main characters in these films find ways just to have sexual intercourse with their respective partners and “clients” even in an immoral way.” Informant 2: “Tirador depicts that it is human nature to commit sins. In this film, all the characters commit sins, like stealing and selling drugs.” Informant 3: “Tirador pictures human beings finding the need to lie in order for them not to be jailed and to hide their evil deeds.” Informant 4: “Tirador believes that it is human nature to engage in sexual act and to lie for their pleasure and protection, respectively.” Informant 5: “In Tirador, the survival instinct is greatly introduced in the movie, in which the characters do all they can to survive, even if it means breaking the law. Hope is also exhibited in the movie as the characters strive and fight for their lives every day, believing that someday, they will be fine and will escape from poverty.”

Table 2: Insight to Human Nature in the Film Tirador (2007) Human Nature Lines/Scenes from the Film Concept of Survival The film shows the ingenuity of human beings as portrayed by most of the characters who are in great needs. The “civilized”, to whom the truth is fabricated, whose actions do not fit the standards of what is “accepted” are considered criminals. Those who know no other means of earning a living other than stealing is considered petty criminals. But, if the root cause of their wrongdoings is poverty, then the maxim “the end does not justify the means” is applicable to their acts, because it is by nature that man does everything in order for him to survive. Devotion Though most of the characters in the film are petty criminals, they do not forget to give time for the celebration of the Feast of the Black Nazarene. They are the devotees who join the procession. It shows that by nature man is also good. Even the criminals have goodness in their heart. Familial Love Caloy’s parents are separated from each other, but he still loves both of them despite the family’s complicated situation. He helps both of them even through petty crimes. It is natural to human that even though he is bad, his love for his family still prevails. White Lies Telling a lie is natural to human especially if a person wants the situation to become favorable to him. In the film, when the policemen raid the slum area, Odie lies to the policemen that his 14477 father is sick in order to save him from possible arrest. Source: Film Content Analysis (2019)

Human Nature in the Film Serbis (2008) Table 3 discussion shows the different insights to human nature in the film Serbis. It is supported by the answers of the informants in the focus group discussion with their answers to the question: How does Brillante Mendoza show insight to human nature in the film “Serbis”? Informant 1: “Masahista, Tirador, Serbis, and Kinatay feature sex, lust, and affection as part of human nature. The four films clearly show that sex is a necessity to human beings as the main characters in these films find ways just to have sexual intercourse with their respective partners and “clients” even in an immoral way.” Informant 2: (No answer to the question about insight to human nature.) Informant 3: “The film Serbis reveals that it is human nature for the gay prostitutes to offer “service” or sex to the customers, for money.” Informant 4: “Serbis deems it is human nature to express love. The protagonist engages in a pre-marital sex with his girlfriend, which leads to unwanted pregnancy.” Informant 5: “In Serbis, sexual fulfillment is exhibited as the homophobic men go to the theater to seek pleasure in exchange of money.Compassion is also emphasized in the film as the characters realize the dividing line between good and bad choices.” Table 3: Insight to Human Nature in the Film Serbis (2008)

Human Nature Lines/Scenes from the Film Sexual Behavior There is a scene where Alan and Merly are having sexual intercourse inside a room. Also, in the theater, gay hustlers offer sexual services to their customers. Humans are clandestine when it comes to sex. Nothing reveals an animal’s nature quite as well as its sexual practices, and humans certainly have some strange ones – even from a biological point of view. That makes them no different from any other creatures except humans who are rational beings who prefer to have sex in private. Conflict Nanay Flor is attending the court hearing for a bigamy case she files against her estranged husband. This is a clear example of conflict that the couple has brought up in public. Experiencing conflict is nature to human beings. They recognize discrepancies between speech, thought, and action. They develop means of dealing with internal conflict and social conflict. They mediate conflict and often consult others in resolving conflict. 145

Jealousy When Nayda hears about her cousin receiving a sexual favor, her reaction may have to do more with jealousy than propriety. It is by nature that humans can be jealous sometimes especially when their loved ones are involved in the situation. Jealousy is a complex emotion that encompasses feelings ranging from fear of abandonment to rage and humiliation. It strikes both men and women and is most typically aroused when a person perceives a 77 threat to a valued relationship from a third party. Compassion One scene in the film is the fight between Alan and Ronald over a T-shirt. After the fight, Ronald feels sorry to hurt his cousin and gives Alan a piece of advice eventually. The scene proves that human beings are compassionate. They are empathetic; they grow attached to others and express the affection they feel. They distinguish between good and bad, and have a concept of fairness and equity. Source: Film Content Analysis (2019)

Human Nature in the Film Kinatay (2009) The discussion as presented in Table 4 shows the different insights to human nature in the film Kinatay. It is supported by the answers of the informants in the focus group discussion with their answers to the question: How does Brillante Mendoza show insight to human nature in the film “Kinatay”? Informant 1: “Masahista, Tirador, Serbis, and Kinatay feature sex, lust, and affection as part of human nature. The four films clearly show that sex is a necessity to human beings as the main characters in these films find ways just to have sexual intercourse with their respective partners and “clients” even in an immoral way.” Informant 2: “Kinatay indicates the idea that it is human nature to love. Because of the love of the boy for his girlfriend he needs to look for money that leads him to commit a sin.” Informant 3: “Kinatay conveys the idea that man will do everything for his loved one. Due to lack of finances, the main character continuously looks for quick money to provide for his small family. As a result, he is forced to join a criminal group.” Informant 4: “Kinatay shows its human nature to express love, which results in bearing a child at an early age. Because of love, the protagonist is forced to make money for his family. Sins such as murder and drug abuse are committed for quicker money.” Informant 5: “In Kinatay, discontentment is exhibited in the movie. They are not contented with their lives, making them get involved in crimes to get big amount of money while ignoring the laws they break.”

Table 4: Insight to Human Nature in the Film Kinatay (2009)

Human Nature Lines/Scenes from the Film Clutching A Knife As Peping and his small family suffer from poverty, they do not have enough finances to support their growing child. As a result, Peping always looks for quick money with his friend Abyong, who is connected to a criminal group. It is a part of human nature that when a man’s survival is at stake, he does everything even sometimes it causes for his moral damages. Family Support Due to poverty, Madonna is forced to work in an entertainment bar as a stripper to provide money for her only child. There is also a scene where she always requests for an advance salary to support the needs of her family. It is by nature that a person like Madonna does everything to support her family even though her life is at risk. Respect to Humanity The title “Kinatay”, in relation to the film, signifies the heinous crime committed by the drug syndicate who brutally chops the body of a woman into pieces, after she failed to pay her debt. It depicts how people are easily silenced and how criminals deliberately put the life of others into their hands. This act is a form of animalism that has no respect for the human core of a person. 14777 Moral Conscience It is certainly not enough to carry the tepid moral inquiry that the film attaches to its central character. In the final sequences, repeated glimpses of Peping’s troubled face alternate with a poster of Jesus Christ that represents the hideout’s decoration. From the time of the kidnapping until after the murder, Peping has a consistent facial expression of guilt and contempt for the crime. After witnessing the first-hand brutal torture and murder of a woman, the fear for his own life overwhelms him. It is normal for one person like Peping to have that kind of feeling or expression since man, by nature, has a moral conscience. Source: Film Content Analysis (2019)

Human Nature in the Film Thy Womb (2012) The discussion in Table 5 presents the different insights to human nature in the film Thy Womb. It is supported by the answers of the informants in the focus group discussion with their answers to the question: How does Brillante Mendoza show insight to human nature in the film “Thy Womb”? Informant 1: “Thy Womb, on the other hand, portrays selfishness as a part of human nature where the main characters are not satisfied with their status in life.” Informant 2: “Thy Womb also shows to love as human nature. Because of the love of the girl for her husband, he finds another girl to give what her husband wants.” Informant 3: “The film Thy Womb also revolves around the concept of love. The main character, who cannot bear a child, looks for another woman to give what her husband wants.” Informant 4: “Thy Womb illustrates that it is human nature to show selflessness for a loved one. A woman who is unable to bear a child has to let go of her husband and let him impregnate another woman to satisfy her husband’s desire to have a child.” Informant 5: “In Thy Womb, unconditional and selfless love of the protagonist to her husband is clearly emphasized in the movie. On contrary, the selfishness and insensitive decision of her husband gives rise to the main conflict in the story.”

Table 5: Insight to Human Nature in the Film Thy Womb (2012)

Human Nature Lines/Scenes from the Film Self-entitlement The umbilical cords she has collected from many mothers she helps are hanging at her house, which, ostensibly shows Shaleha’s noble profession. Although, it makes her proud of herself being an excellent midwife, it also serves as a painful reminder of her inability to bear her own child.

Unselfishness Shaleha does not decide, think, and act for herself but for her husband, knowing that she cannot fulfill his needs. Her unselfish decisions are corollary of her unconditional and profound love. Based on Shaleha's character, it can be concluded that love, in its profundity, is intertwined with selflessness which is nature to man. Discontentment It is clear that Bangas-an is not satisfied with his life. He needs a child to care for, and a wife who can bear his own child. As the desire of having a child grows in his heart, he ends up with the selfish decision of having another wife. This is natural to man as he has no contentment in life.

77 ********************************************************************************************************* 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

Egocentrism The ending of the movie unveils the egoistic decision of Bangas- an. He only cares for himself and makes his decision without respecting the feelings of his wife. He is self-centered maybe because of their unwritten laws and tradition of having more than one wife. Divergence The scene in which she gives one condition to Bangas-an in order to proceed to marriage, and that is to divorce with Shaleha as soon as she gives Bangas-an's own child, evidently shows the divergence of Mersila from the other Badjao women. She cannot accept polygyny or having a husband who has another wife, which makes her brave enough to fiercely gives condition that oppresses Shaleha. 149 Source: Film Content Analysis (2019)

6. CONCLUSION AND RECOMMENDATIONS The study concluded that traits of human nature as depicted in the award-winning social realists films of Brillante Mendoza broadens viewers’ perceptions on their fellowmen and helps them become indiscriminating and open-minded. The films portrayed sexual gratification, familial love, conflict, emotional responses, sense of forgiveness, concept of alienation, deception, survival, devotion, familial love, white lies, sexual behavior, conflict, jealousy, compassion, violence, family support, respect, moral conscience, self-entitlement, unselfishness, discontentment, and egocentrism as definitive attributes of a social realist film.

It is recommended therefore that literary writers and indie filmmakers should continue crafting good literary works that integrate insight on human nature. Classroom context film model can also be used as an instructional material in analyzing human aspects of social realist film during classroom discussion. To further validate the findings of this study vis-à-vis the precipitated attributes of social realism as well as make room for correlation, further studies should be carried out on social realist films outside Brillante Mendoza’s films with particular focus on the human aspects.

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Journals Bebber, B. (2014). Till Death Us Do Part: Political Satire and Social Realism in the 1960s and 1970s. Historical Journal of Film, Radio, and Television, 34(2), 253-274. Campos, P. (2011). The Intersection of Philippine and Global Film Cultures in the New Urban Realist Film. Plaridel: A Philippine Journal of Communication, Media, and Society, 8(1). Creeber, G. (2009). ‘The Truth Is Out There! Not!’: Shameless and The Moral Structures of Contemporary Social Realism. Journal of New Review of Film and Television Studies, 7(4), 421-439. Dave P. (2013). Choosing Death: Working-Class Coming of Age in Contemporary British Cinema. Journal of British Cinema and Television, 10(4), 746-768. David, J. (2011). Primates in Paradise: Critical Possibilities of the Milieu Movie. Kritika Kultura, 17, 70-104. Demeterio, F. & Liwanag, L.A. (2016). Barthesian Semiologies on Selected YouTube Video Clips of Petra Mahalimuyak. Plaridel: A Philippine Journal of Communication, Media, and Society, 13(2). Forrest D. (2014). The Films of Joanna Hogg: New British Realism and Class. Journal Studies in European Cinema, 11(1), 64-75. Gutierrez, J. (2017). The Realist Cinema of Lino Brocka. Plaridel: A Philippine Journal of Communication, Media, and Society, 14(2), 1-10. Kosinka, K. (2014). Style and Attitude: Social(ist) Realism in the Polish Black Series and British Free Cinema. Journal Studies in Eastern European Cinema, 2(2), 193-209.

Nwonka, C.J. (2014). ‘You’re What’s Wrong with Me’: Fish Tank, The Selfish Giant and the Language of Contemporary British Social Realism. New Cinemas: Journal of Contemporary Film, 12(3), 205-223. Pante, M. & Nery, L.A. (2018). Transforming Theater for the Oppressed: Community Theater as Urban Poor Discourse in Sining Kadamay’s Gapok. Kritika Kultura, 30, 196-216. Quitlong, T. (2017). Between the Walls: The Shanty in “Hellow, Soldier” from Lino Brocka’s Tatlo, Dalawa, Isa (1974). Plaridel: A Philippine Journal of Communication, Media, and Society, 14(1). Rana, J. (2016). Anupama: Social Realism in Hrishikesh Mukherjee’s Film. International Journal of English Language, Literature, and Humanities, 4(1). Santiago, A. (2007). The Liberative Role of Discourse in Articulating Women’s Issues and Concerns in Filipino Melodramatic Films from 1990 to 2000. Plaridel: A Philippine Journal of Communication, Media, and Society, 4(7). Street, S. (2018). The Colour of Social Realism. Journal of British Cinema and Television, 15(4), 469-490. Tiongson, N. (2016). Critiquing the Filipino Film Today: Notes for the Round-Table Discussion on Film Criticism. Plaridel: A Philippine Journal of Communication, Media, and Society, 13(1), 174-181. Tolentino, R. (2012). Marcos, Brocka, Bernal, City Films, and the Contestation for Imagery of Nation. Kritika Kultura, 19, 115-138. Weiner, N. (2015). Resistance Through Realism: Youth Subculture Films in 1970s (and 1980s) Britain. European Journal of Cultural Studies, 21(2).

Theses/Dissertations Gutierrez, J. (2008). Images of the Mother in Lino Brocka Films: 1970- 1991 (Unpublished master’s thesis). College of Mass Communication, University of the Philippines, Diliman, Quezon City. Gutierrez, J. (2014). Intuitionist-Existentialist Cinematic Realism in Lino Brocka’s Manila in the Claws of Light (1975) (Unpublished research paper). College of Mass Communication, University of the Philippines, Diliman, Quezon City. Gutierrez, J. (2018). Investigating Kracauerian Cinematic Realism Through Film Practice and Criticism: Life-World Series (2017) and Selected Films of Lino Brocka (Unpublished doctoral dissertation). Hongkong Baptist University, Kowloon, Hongkong.

Nwonka, C.J. (2017). Estate of the Nation: Social Housing as Cultural Verisimilitude in British Social Realism (Unpublished doctoral dissertation). Goldsmiths University of London, London, United Kingdom. Schwarz, C. (2013). Shane Meadows: Representations of Liminality, Masculinity, and Class (Unpublished doctoral dissertation). University of the West of England, Bristol, United Kingdom.

Internet Sources Bueza, A. (28 June 2017). Social Realist Film Today: ‘The Selfish Giant’ and ‘I, Daniel Blake. Pequeno hablador de cine. Retrieved from https://pequeno habladordecine Brussat, F. (2018). 2015: The Year of the Social Issue Movie. Spirituality Practice: Resources for Spiritual Journey. Retrieved from https://www. spiritualityandpractice De Castro, L. (11 May 2016). Top Five Brillante Mendoza Films. Retrieved from https://www.filmdoo Mayordomo, J. (16 December 2015). Idependent Films of Brillante Mendoza: An In- Depth Analysis. Retrieved from https://www.researchgate McCausland, S. (17 January 2018). The New Social Realism of American Cinema. Retrieved from https://filmschoolrejects Mendoza, B. (18 May 2008). In Competition: Serbis. Retrieved from https://www.festival- cannes.com Ursell, J. (10 June 2016). Ken Loach, Social Realism, and The Intertwining of Politics and Life. Retrieved from https://www.intofilm Valerio, E.A. (2011). Defining the Aesthetics of Philippine Independent Cinema: An Interview with Brillante Mendoza. Retrieved from https://www.researchgate Young, N. (6 September 2012). Thy Womb (Sinapupunan): Venice Review. Retrieved from https://www.hollywoodreporter.com

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