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Cinemagis 9: Northern Mindanao's Sentiments and Sensitivities
In partnership with Cinemagis 9: Northern Mindanao’s sentiments and sensitivities By Stephen J Pedroza s a springboard for budding and from the personal to a more collective of our voices and aspirations shared established artists to tackle a wide experience where social issues could and celebrated beyond any competition The films ... Arange of social issues in Mindanao either be clearly seen or implied to there is — I would like to emphasize using film as the medium, Cinemagis has magnify tension and to 'problematize' that Cinemagis’s prime role, apart from ‘problematize’ curated motion pictures that have already the mundane and dissect it as giving away awards, is to celebrate the the mundane been screened and awarded in national and determination, pursuit, identification, harvest, the good harvest, the good international independent film festivals. emancipation, tradition, poverty, life, ones. We may not have the school for and dissect it as Now on its ninth installment, love, and death,” he adds. filmmaking yet, but I hope we have the Cinemagis continues to serve as a platform Over the years, Cinemagis has grown humility and high respect for the craft determination, for young and professional filmmakers prolifically and Savior, who helms Xavier beyond any other reasons there are. pursuit, in Northern Mindanao to pour out their University - Ateneo de Cagayan's Xavier Northern Mindanao filmmakers create passion, stories, and filmmaking skills, and Center for Culture and the Arts (XCCA) these films because there is so much to identification, for cultivating the experience and growth as director, attributes this momentum show and share!” says the XCCA director. -
Fil-Am Nurse Enjoys Success in U.S. Home Health Industry by Alex P
Msgr. Gutierrez Riz A. Oades Entertainment Permanent FiL-Am YOUTH: “No, I’ve already Jennylyn: Resident gone with the Navy Path with you!” ‘My fault’ May 8 - 14, 2009 Fil-Am nurse enjoys success in U.S. home health industry By Alex P. Vidal/ PNS OAK BROOK, Illinois -- Happy Mother’s Day to All ! While many traders and finan- Pilipinas: cial managers in the United Anne M. Jarvis is credited States are groping in darkness with originating Mother’s Day. over the gloomy economic She never married and was ex- atmosphere wrought by reces- Balik-Tanaw tremely attached to her mother, sion, a 41-year-old nurse from Miag-ao, Iloilo in the Philip- By Dr. Romy Protacio of golf in world class golf Mrs. Anna Reese Jarvis. After courses, visiting parks and pines has successfully inched “Balik-Tanaw” means museums, or even simply Mrs. Jarvis died, Anne Jarvis her way into home health to look back at the past – in watching sunsets in stunning missed her mother so much business in Fairfield=2 0Way, retrospect. The word balik- resorts beyond compare. Bloomingdale. tanaw vividly describes my The Philippines is never The success of Lira Faicol recent trip to the Philippines. wanting for such options Mueda’s four-year-old home Whenever I take a trip back and all for far less than they health business that serves the entire state of Illinois however didn’t happen overnight. “We also encountered that she and her friends began a some problems in the begin- letter writing campaign to gain the ning, but me and my husband, support of congressmen, business- Edwin, do the marketing and directly manage the business,” men and influential ministers in quipped Mueda, who consid- declaring a national Mother’s Day ers Edwin as the business’ holiday. -
2004 01 Inside Pages
UP Film Institute Filmography of Filipino Films 2003 Introduced by Lucenio Martin L. Lauzon Compiled by Virginia D. Cuyugan and Lucenio Martin L. Lauzon with assistance from Pol del Mundo of the Movie and Television Review and Classification Board (MTRCB) Ana Fajardo of the Film Academy of the Philippines (FAP) Edwin Joaquin of the MOWELFUND Film Institute The Filipino film celebrates this year its 85th anniversary but its activities and achievements through the years still need to be documented and assessed fully and systematically. Today, the country is still wanting not only in the capability to preserve its film heritage but also in the determined and sustained efforts to collect and preserve existing data on Filipino film for posterity. It does not help that the conservation of Filipino heritage, taxing and tedious as it is already, is appreciated by only a few individuals even within the industry. As an institution dedicated to the study of films, the UP Film Institute (UPFI) shall try to help in the task of gathering, classifying and disseminating data on the Filipino film. As part of its commitment to the public, the UPFI shall make these data available to everyone through the publication of a systematic and comprehensive listing of Filipino films, beginning with those produced in 2003. This year is most apropos as it was also in 2003 that the UPFI was formally established by virtue of the UP Board of Regents resolution. The UPFI realizes that such filmographies are indispensable for anyone who wants to gain an overview of the film landscape in the country and to make necessary, informed and authoritative observations on the state of the Filipino film industry. -
Office for Overseas Voting Certified List of Overseas Voters
01/28/16 PRINTED: Republic of the Philippines COMMISSION OF ELECTIONS Intramuros, Manila OFFICE FOR OVERSEAS VOTING CERTIFIED LIST OF OVERSEAS VOTERS May 09, 2016 Natonal and Local Electons Country: JAPAN Post / Jurisdicton: TOKYO SEQ. NO FORM ID NO. VOTER'S NAME Remarks 1 3927220140012631 AALA, MARLO SIGATON 2 3927201200000227 ABAD, EDNA ANASTACIO 3 3927220140002594 ABAD, REMEDIOS ANDAY 4 6080020130227460 ABAD, SARAH TALUSAN 5 6080020140082207 ABAINZA, JENELYN SIMBOL 6 3927220140001396 ABALOS, ARLINE SUHOT 7 3927211000001155 ABALOS, FRANCIA PRAMOSO 8 3927211000001156 ABALOS, NILES GEOFFREY MOY 9 3927220140001395 ABALOS, RENE PASAGDAY 10 3927220140003678 ABAN, MARC LAWRENCE ESPINA 11 3927220140003677 ABAN, MARY ROSE DIMAT 12 3927220140012586 ABANCE, FOREVITA PAUS 13 3927220140012524 ABANGAN, EUGENE WISABIA 14 3927220140009773 ABANGAN, STACEY ANN MARIE N/A 15 3927220140001590 ABANTO, ALEJANDRO MATCHUHEQUE 16 3927220130001374 ABARCA, EDITA NAGATA 17 3927211000001024 ABARIENTOS, JOHN DOMINIC - 18 3927220130001045 ABARRA, EINSTEIN NOEL DELA CRUZ 19 3927220140010590 ABARRIENTOS, IRENEO GRAN 20 3927220140005953 ABARRIENTOS, ZEUS EDULAN 21 3927220140006421 ABASOLO, CONRADO YONGCO 22 3927220140006420 ABASOLO, EMELITA AMALIAS 23 3927220140005567 ABATAN, BALBINO YMBANG 24 3927211000000924 ABAY, CATHERINE LOFRANCO 25 6080020140036245 ABAY, JUNEBEL BERMEJO 26 6080020140036244 ABAY, SUSANA MAQUILING 27 3927220140000880 ABAYATA, LAIERA MAE VILLAREAL 28 3927210800000904 ABAYON, HAZEL TORRES 7498306e3d6c12ee7fdd9ee53d109312 Page 1 of 687 01/28/16 PRINTED: -
Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery ALSO by JOEL DAVID
UNITAS Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery ALSO BY JOEL DAVID The National Pastime: Contemporary Philippine Cinema Fields of Vision: Critical Applications in Recent Philippine Cinema Wages of Cinema: Film in Philippine Perspective Book Texts: A Pinoy Film Course (exclusively on Amauteurish!) Manila by Night: A Queer Film Classic SINÉ: The YES! List of 100+ Films That Celebrate Philippine Cinema (with Jo-Ann Q. Maglipon; forthcoming) VOLUME 89 • NUMBER 1 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery PART II: EXPANDED PERSPECTIVES Joel david since 1922 Indexed in the International Bibliography of the Modern Language Association of America Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery (Part II: Expanded Perspectives) Original Digital Edition Copyright 2015 by Joel David and Ámauteurish Publishing. All Rights Reserved. Cover still from Tiyanak, © 1988 Regal Films. All Rights Reserved. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). UNITAS is published by the University of Santo Tomas, Manila, Philippines, the oldest university in Asia. It is hosted by the Department of Literature, with its editorial address at the Office of the Scholar-in-Residence under the auspices of the Faculty of Arts and Letters. Hard copies are printed on demand or in a limited edition. Copyright @ University of Santo Tomas Copyright The authors keep the copyright of their work in the interest of advancing knowl- edge but if it is reprinted, they are expected to acknowledge its initial publication in UNITAS. -
Philippine Studies Ateneo De Manila University • Loyola Heights, Quezon City • 1108 Philippines
philippine studies Ateneo de Manila University • Loyola Heights, Quezon City • 1108 Philippines Conditions of Visibility: Resignifying the “Chinese”/”Filipino” in Mano Po and Crying Ladies Caroline S. Hau Philippine Studies vol. 53, no. 4 (2005): 491–531 Copyright © Ateneo de Manila University Philippine Studies is published by the Ateneo de Manila University. Contents may not be copied or sent via email or other means to multiple sites and posted to a listserv without the copyright holder’s written permission. Users may download and print articles for individual, noncom- mercial use only. However, unless prior permission has been obtained, you may not download an entire issue of a journal, or download multiple copies of articles. Please contact the publisher for any further use of this work at [email protected]. http://www.philippinestudies.net Fri June 27 13:30:20 2008 Conditions of Visibility: Resignifying the "Chinese"/"Filipino" in Mano Po and Crying Ladies Caroline S. Hau Historically ident$ed with commerce, capital, and communism, and long defined by its problematic relationship with Philippine nationalism, "Chineseness" has been reconfigured over the last three decades in line with the geopolitical, demographic, economic, social, and cultural trans- formations of the Philippine nation-state and society. This article analyzes the potentials and limits of "Chineseness" in such films as Mano Po and Crying Ladies, which draw on the discourse of national integration to situate the "Chinese Filipino" within the territorial boundaries -
Portraits of Youth in Philippine Films
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Portraits of youth in Philippine films Cruz, Isagani R. 1987 Cruz, Isagani R. (1987). Portraits of youth in Philippine films. In AMIC Seminar on Youth Culture and the Media : Bangkok, Aug 13‑15, 1987. Singapore: Asian Mass Communication Research and Information Centre. https://hdl.handle.net/10356/86233 Downloaded on 25 Sep 2021 21:21:05 SGT ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Portraits Of Youth In Philippine Films By Isagani R Cruz Paper No.7 ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library WORKING PAPER ONLY NOT FOR PUBLICATION \> ' [He* Portraits of Youth in Philippine Films Isagani R. Cruz, Ph.D. De La Salle University Manila, Philippines In classical literary theory, art was usually viewed as a mirror of reality. Modern literary theory has modified this classical view somewhat. It is today more customary to talk of art as a mirror in which people see themselves. Instead of merely passively reflecting reality, art is more often seen today as an active participant, or at least a catalyst, in the way people define themselves. In many ways, people behave according to the way art portrays them. ft Such theorizing, of course, is almost always couched in the impractical jargon of literary theory, which is today caught in the fashions of deconstructive and post—structuralist thought. For researchers more interested in the practical applications of ideas rather than the ideas themselves, however, this theorizing leads to a workable process of analysis that looks at reality through its symbols, rather than the other way around. -
Film Industry in the Philippines
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Film industry in the Philippines Vertido, Cris. 1988 Vertido, C. (1988). Film industry in the Philippines. In AMIC Seminar on Asian Films : Survival or Revival, Singapore, January 26‑28, 1988. Singapore: Asian Mass Communication Research and Information Centre. https://hdl.handle.net/10356/86445 Downloaded on 28 Sep 2021 18:24:18 SGT ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Film Industry In The Philippines By Cris Vertido Paper No.5 PrtPEP- L CRIS VERT [DO -^^^.a^cK^ IF Ninety years have elapsed since the Lumiere cinematograph was first introduced In .Manila in 1897 shortly before the Fili pinos revolted against^5*0-year colonizer,Spain. In February of 1986, the Philippines gained worldwide attention in yet another kind of revolution: the unique and now famous People Power revo lution to end an unpopular dictatorship. In that span of ninety years, the history of Philippine cinema has been characterized by the proverbial peaks and valleys closely corresponding to the country's political and economic fortunes. Today, with the nation still .reeling from an unprecedented economic low and an uncertain ATTENTIpoliticaON: The Singalp orfuturee Copyrigh,t A ctht apepl iestats to thee u seo off ththis deoc uFilipinment. Nanyaong Tfilechnmolo gindustrical Universityy Librsar y indeed at a crossroad between survival and revival. The following sketch would help us picture the current status of the country's film industry. The Philippines ranks seventh among film producing coun tries in the world, its annual production ranging anywhere from 150 to 200 locally produced full-length feature films. -
Film Industry Executive Summary
An In-depth Study on the Film Industry In the Philippines Submitted by: Dr. Leonardo Garcia, Jr. Project Head and Ms. Carmelita Masigan Senior Researcher August 17, 2001 1 FILM INDUSTRY EXECUTIVE SUMMARY Movies are a powerful force in Philippine society. Movies, more than just a source of entertainment, reflect a nation’s personality. On the silver screen takes shape all the hopes, dreams and fantasies of the common man: legends, love, the stuff of myths and make believe. Its heroes become larger than life, often attaining the stature of demigods. They are looked upon as role models, serving as resources of inspiration. But most important, the movie industry has become a vital part of the national economy. The paper aims to define the industry and its structure, examine the laws that hinder or facilitate its growth as well as the existing associations and what they have done; look into the market potential of the film industry and its foreign market demand; examine supply capability; identify opportunities and threats confronting the industry; prepare an action plan to enhance competitiveness; and recommend a performance monitoring scheme. The film industry shows that its gross value added is growing faster than the gross domestic product and gross national product. In other words, the industry has a lot of potential to improve further through the years. Extent of growth of firms is primarily Metro-Manila based with Southern Tagalog as a far second. There is more investment in labor or manpower than capital expenditures based on the 1994 Census of Establishments. Motion picture also called film or movie is a series of still photographs on film, projected in rapid succession onto a screen by means of light. -
2016 YCC Citations Final
The Film Desk of the Young Critics Circle The 27th Annual Circle Citations for Distinguished Achievement 2016in Film for + SINE SIPat: Recasting Roles and Images, Stars,Awards, and Criticism Thursday, 27 April 2017 Jorge B. Vargas Museum University of the Philippines Roxas Avenue, UP Campus Diliman, Quezon City | 1 } 2 The 27th Annual CIrcLE CItatIONS for Distinguished Achievement in 2016Film for + SINE SIPat: Recasting Roles and Images, Stars, Awards, and Criticism 3 4 The Citation he Film Desk of the Young Critics Circle (YCC) first gave its annual citations in film achievement in 1991, a year after the YCC was Torganized by 15 reviewers and critics. In their Declaration of Principles, the members expressed the belief that cultural texts always call for active readings, “interactions” in fact among different readers who have the “unique capacities to discern, to interpret, and to reflect... evolving a dynamic discourse in which the text provokes the most imaginative ideas of our time.” The Film Desk has always committed itself to the discussion of film in the various arenas of academe and media, with the hope of fostering an alternative and emergent articulation of film critical practice, even within the severely debilitating culture of “awards.” binigay ng Film Desk ng Young Critics Circle (YCC) ang unang taunang pagkilala nito sa kahusayan sa pelikula noong 1991, ang taon pagkaraang maitatag ang YCC ng labinlimang tagapagrebyu at kritiko. Sa kanilang IDeklarasyon ng mga Prinsipyo, ipinahayag ng mga miyembro ang paniniwala na laging bukas ang mga tekstong kultural sa aktibong pagbasa, sa “mga interaksiyon” ng iba’t ibang mambabasa na may “natatanging kakayahan para sumipat, magbigay-kahulugan, at mag-isip .. -
Nora Aunor >>> Page 36
VILMA & NORA VILMARivalryRivalry no&no More!More!NOR A TaposTapos NaNa BaBa AngAng Labanan?Labanan? Nananahimik na ba kayo? Sawa na ba kayo sa mga awayan ang paggawa ng babasahin inyong binabasa ngayon. Hindi niya naisip na ang pagsusulat ko ay isang hobby. Isang out- at bangayan? Alam ko. Tulad mo wala na akong panahon let ng isang simpleng tagahanga. Bakit raw nagaaksaya ako makipagtalo. Tapos na ba ang labanan? Puedeng sabihin. ng panahon. Tulad ng ibang hobby kagaya ng panggagat- Sinong nanalo at sinong natalo. Kung ang pagbabasihan ay silyo o paghahardinero, ang pagsusulat ko’y nagdudulot ng ang career at family life malinaw na si Vilma ay nakaka- ligaya katulad ng kapag nakakabasa ako ng magagandang angat. Maging ang mga Noranians tulad nina Boy Abunda at bagay tungkol sa aking paboritong artista. Hindi niya mara- German Moreno ay pawang nagsasabi na napag-iiwanan na hil nakikita ito. Sa kabila nito nanatili ako sa pagsusulat at ang kanilang minamahal na si Nora. Sa mga ordinaryong paggawa ng babasahin hawak niyo. Tulad ng iba’t ibang tagahanga ni Nora hindi nila matatanggap kalian man na mga tagahanga ni Ate Guy at Ate Vi tapos na ang mga napag-iiwanan na nga ang kanilang idolo. Pilit nilang ibina- pakikipagdebate ko. Pinagdaanan ko na ito at ang libreng balik ang dekada sitenta kung saan malinaw na nilampaso ng oras ko ay ginugugol ko sa ibat ibang bagay tulad ng pag- bikolanang manganganta ang original Tondo girl na si Ate Vi. susulat. Kung sino ang mas sikat at kung sino ang mas ma- Pilit nilang ibinabalik ang kasikatan natapos na. -
The New Manila Sound: Music and Mass Culture, 1990S and Beyond James Gabrillo
The New Manila Sound: Music and Mass Culture, 1990s and Beyond A dissertation submitted for the degree of Doctor of Philosophy in Music James Gabrillo Peterhouse, University of Cambridge November 2018 This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other quali- fication at the University of Cambridge or any other University or similar institution. It does not exceed the word limit prescribed by the Degree Committee. "2 of 293" The New Manila Sound: Music and Mass Culture, 1990s and Beyond James Gabrillo Abstract This dissertation provides the first detailed account of the mass musical culture of the Philippines that originated in the 1990s and continues to be the most popular style of musical entertainment in the country — a scene I dub the New Manila Sound. Through a combination of archival research, musical analysis, and ethnographic fieldwork, my ex- amination focuses on its two major pioneers: the musical television programme Eat Bula- ga! (Lunchtime Surprise) and the pop-rock band Aegis. I document the scene’s rise and development as it attracted mostly consumers from the lower classes and influenced oth- er programmes and musicians to adapt its content and aesthetics. The scene’s trademark kitsch qualities of parody, humour, and exaggeration served as forms of diversion to au- diences recovering from the turbulent dictatorship of Ferdinand Marcos from 1965 to 1986, when musical works primarily comprised of state-commissioned nationalist an- thems, Western art music, and protest songs.