Teacher Education, a Student You a Teacher Nor Can Define How Good a Teacher in the Mud

Total Page:16

File Type:pdf, Size:1020Kb

Teacher Education, a Student You a Teacher Nor Can Define How Good a Teacher in the Mud I walked along the corridors, side-by-side In the second with the cracked walls. subject, my teacher Who knows when they’ll came in and sat. cave in on us? Then I You know what? My third subject was PE. Our teacher was this went inside my classroom All she ever does in really old man who loves basketball, volleyball, and sat. But, like a jolt of TEACHERtext by Maria Theresa Zapanta &E LovelyVALUA Flores|illustrationsT byION Sheen Ponce: the classroom is sit. When and all things round and beautiful. He made us lightning, I stood up and sighed There is much to learn she discusses, it’s so flat, perform these warm up exercises, which was at the horrible state of the chair. boring and lifeless, like weird and awkward because we had to raise It was barely hanging on itself. I staying in an endless sea our butts. We grunted and refused to do the replaced it with another chair. Just then, the teacher came in. Before without ripples. Whatever exercises properly but he scolded us saying, she could say her ‘good morning’, she happened to awakening it’s a preparation for marriage. WHAT?! Some experienced a coughing fit because of did it the way he wanted it done and that too much dust from our primitive visual really made him happy. Pathetic. One time, aide – the blackboard. The teacher he stood so close to one of my classmates sat down and discussed about the who kept backing away. Poor dirty teacher. history of whatever I could not hear. Honestly, is she even discussing or is she whispering sweet nothings to the dead souls that walk with us in these old buildings? I sat at the end of my chair and strained my ear just to hear and encouraging passion her. But alas! My classmates’ chatter for learning? Today, a group is louder. My thirst for knowledge of is reporting. She’s so fond of the history of whatever (yes, some reporting, she already has students are interested with history) groups assigned during the was quenched, not with satisfaction first day of class. Maybe she Finally, my last subject for the day. I am so excited but with resignation. For a few months forgot that not all students to get in the class because unlike some students, I now, she has continuously gone on in CNU are studying to still want to learn something. I sat in front of the room discussing like that – like she doesn’t become teachers. And care if her students hear her or not. even if they are, shouldn’t with my friends. I checked the time. It’s five minutes I did not have to personally tell her she be a valuable example? past the starting period. I talked to my classmates to increase the volume of her voice She became a teacher not while waiting for the teacher. I checked the time because she must have already known to share knowledge and again. The teacher is already late for twenty-five that problem. We put comments in enlighten her students but minutes. Some students are already saying that the evaluation slips. All of her students to sit and rate the visual Ma’am is going to be absent. Again. So, they must have written: louden your voice. aide, the cooperation of started getting out their lipsticks and foundations But she refuses to. Oh, well, let her the group, and knowledge and reapplied their makeup. My friends and I extensive knowledge be wasted. She of the reporters. How about stayed while some of our classmates left the room. learned all those things just to enjoy your knowledge, Ma’am? After an hour, we got so bored of waiting that we them herself and then became a Again, all she does is sit grabbed our bags and left the room too. Ma’am teacher to be paid for it. (This would at the back of classroom, is often absent. She’s a school official and she’s have worked had the classrooms and sometimes, she even always busy with important matters. Unfortunately, been built with an effective sound falls asleep in the middle of her students are not as important as those matters. amplification, the one with walls that my classmates’ discussion. echo the things we are taught. Match Many of her students, that with a class of at most twenty- however, were no longer five students and I’m sure the lessons T listening. Who cares if will be well-learned by each and 1 these students don’t learn everyone. But in a classroom where the I came to school to learn what has been promised 11 anything by the end of the sirens pass by freely, with neighboring to us in the course syllabus. I didn’t sign up to complain. classes taking up subjects Gossip and 111 semester? This is a leading But these injustices, they can’t keep on coming at us when Laughter 101, and with more than sixty 1111 university after all, I’m pretty taxpayers of the Republic of the Philippines pay for our students, ugh, why do I even care?) 11111 sure we’ll score a job when education. I understand there are other things to look into we graduate anyway. 111111 (I should also consider myself in this two-way process of learning). Nonetheless, I deserve more than that. We should 1111111 get what we deserve. So I will make sure those teachers 11111111 will also get what they deserve in the teacher evaluation... 111111111 1111111111 4 angsugapublication|2012-2013 angsugapublication|2012-20135 end IF THE WILL Teacher evaluation has historically addressed two objectives: improving performance and bringing about the dismissal of those judged as inadequate or nonproductive. This also provides the essential information that the teachers need in order to evaluate their performance relative expectations, and for university heads to initiate programs related to teacher improvement. Furthermore, its main purpose is professional growth that leads to improved performance. In this university, our teachers’ performance During the interview, sensitive issues revealed world TOMORROWTODAY? SPEND YOU WILL HOW by Rotsen Angelee Oporto & Cathy Ann Jugasan evaluation is done in the near end of every by the students were brought up. “In the office, semester. According to Dr. Flordeliza Laplap, we do not know about that if you do not tell the dean for College of Arts and Sciences, us. Kay ngano, kung naa man gani ingon ana, we have three columns for evaluation: 1) the we’ll call the teachers. We are glad that you ‘head’ which is composed of the department are telling us about that. We are not aware man chair, associate dean and the dean; 2) the gud on what is happening not unless you tell us. teachers themselves; and 3) the students. And even in the performance evaluation, wala • I will pray gyud ug pamaayo kay para • If end of the world na, magpa- man na didto. Wa man na masuwat,” she said. malangit akong kalag. Adto ko Sto. Rosario. opera jud ko kay para mutaas. “The greater vote of the performance Benjie Vanzuela BSEd-MAPEH I HAHA Leanne Gepuit BSEd-MAPEH I evaluation comes from the students. Whatever “I appreciate the students nga mu-voice out sa is your evaluation on the teachers, 50% na ilang mga concern para sad ma call out nato ang • If end of the world na gani, ganahan ko mu • Magmemorable date kuyog sa uyab. adto sa mountain para mag sunbathing. :P siya. And then 25% comes from the head ilang attention. Of course, ma-apil gyud na sa Hihi- Tammy Tagli, BA Comm IV Hazel “Princess” Mernado BSEd- Math III kay mag-observe man sad na sila and then performance nga Professionalism,” she added. the self (teachers) is 25%,” she explained. • I would escape to my other world, my anime • Mu adto ko ug Manila, mu world. HAHA -Glennah Marie Mondares BSEd-SpEd IV rape kog artista… -Christian “Dili mi kahatag ug action. You should Villalonn B.A.- Eng. Lit. I “And then i-collate na ni siya. So your evaluation inform us. In other words, dili maayo sad is just a part of the total performance evaluation. nga mu-deretso sad ta ug pamasangil. • Ako’ng alsahun ang tanang continents para way mamatay. Murag “Sky After having the final result of the computation, There should also be a proof,” Dr. Sol high” bah! Mag sugud nag panglupad ang mga sakyanan ug tawo this will be signed by the teacher himself for Galleon, CAS Associate Dean, also added. ana! Mu adto pa diay kog Japan para mukaon ug Ramen! Nya nindut concurrence. Just in case dili siya musugot, itilaw anang dako na lami! HAHA! Hoy! Unsa na inyung gi huna-huna na-ay mura ug conference ang teacher and They also revealed that during one of their ha? Tsk. Tsk. Tsk. YANA D. BSEd-English II the dean. So I’ll give them time to look at their regular meetings, they solved some issues • If end of the world na, murequest jud ko sa akong mga Ex na magtipok sila, tagsa-tagsaun nako sila’g evaluated performance considering all the reported by students. It is therefore highly chula dayun ang pinaka wa’y lami mu chula, mamatay ug una. - Clarice Villahermosa areas. Kung okay sila, mu-sign sila. But if ever encouraged to voice out if the students • they have questions, I will also listen. Ato nang are having problems with their teachers. Mugakos ug balas adto sa hunasan. Kay kibaw ko di magtsunami nganhi.Kinhason tan-awon if there is a need to revise and there • Kung end na jud kay di ko muhawa is a justification, i-revise nato,” she added.
Recommended publications
  • Bernal As Auteur: Primary Biographical Notes
    Forum Kritika: A Closer Look at Manila by Night BERNAL AS AuTEUR: PRIMARY BIOGRAPHICAL NOTES Bayani Santos, Jr. Manuel L. Quezon University [email protected] Abstract The paper discloses selected author-considered details on Ishmael Bernal’s family and clan background that can provide further insights on his stature as an auteur, culled from a detailed clan story, which describes the values, problems, conflicts, quirks, and gifts of the clan that nurtured Bernal. It also considers a number of Bernal films and several previously unavailable writings in terms of their content, which indicate confluences in Bernal’s thinking with those of other family members. The paper uses the politique des auteurs, whose proponents uphold the primacy of the director as the creative force behind the creation of a film, although they also recognize filmmaking as a collaborative project. The paper strives to articulate certain manifestations of the visions which were manifest in Bernal’s films as well as his literary output. Keywords auteur criticism, Bernal films, Bernal-Santos family history, Philippine cinema About the Author Bayani Santos, Jr. is a PhD candidate at Manuel L. Quezon University in Manila, where he also acquired his MA. He also holds degrees in journalism (cum laude) from the University of the Philippines and Business and Sector Tech Management from the Netherlands International Institute of Management (RBV) Maastricht. He has won six Anvil and Quill Awards for communications programs in the 1980s and 1990s. He is the founding editor of Who Magazine, and has served as editor of several national publications and at the Spanish International News Agency Agencia EFE.
    [Show full text]
  • FOURTEENTH CONGRESS of the Republrc SENATE S.B. 163 7
    FOURTEENTH CONGRESS OF THE REpuBLrc / ,-!r.; .... OF THE PHILIPPINES .. i:.i First Regular Session SENATE S.B. 1637 Introduced by Senator Villar Explanatow Note I am a firm believer of Cine Filipino and I look forward to the day the Philippines wins an Oscar. This legislation is humble recommendation to enact a statute that will enhance and promote the dynamism of Philippine motion picture. It is aimed at encouraging the production of relevant films for a globally competitive cine Filipino. Likewise, this bill recognizes the achievements of actors who are all contributing to the propagation of the nation’s artistic heritage. The last few years have witnessed the resurgence of Filipino cinema to prominence. Excellent films and a corps of competent actors are winning laurels for the country. National Artist Lambert0 Avellana honoured the Philippines by winning its first Best Film prize in the Asia-Pacific Film Festival for Anak Dalita in 1956. It equaled the outstanding feat of Genghis Khan which was the fmt Filipino to be exhibited in Cues Film Festival in 1952. The decade of 1970s signaled the golden age of Filipino cinema. The great auteur Lino Brocka and realist Ishmael Bernal marshaled the exposition of cine Filipino in the Director’s Fortnight in Cannes, Berlinale, Montreal and San Sebastian Film Festivals, among others. Brocka’s ‘Ynsiang”, “Jaguar’: “Bona” and “Bayan KO: Kapit sa Patalim”; and Bernal’s “Himala“ and “Manila By Night: City After Dark” are hallmarks of the era. Of recent, both mainstream and independent films are boosting the country’s pride: “MagniJico”, “Ang Munting Tinig”, “Maxim0 Oliveros”, “Crying Ladies”, “Kubrador”, and “Mmahista”, among others.
    [Show full text]
  • Fifteenth Congress of the Republic of the Philippines
    j, FIFTEENTH CONGRESS OF THE ) REPUBLIC OF THE PHILIPPINES ) First Regular Session ) SENAfl S.B. No. '147 INTRODUCED BY SEN. MANNY VILLAR EXPLANATORY NOTE I am a firm believer of Cine Filipino and I look forward to the day the Philippines wins an Oscar. This legislation is humble recommendation to enact a statute that will enhance and promote the dynamism of Philippine motion picture. It is aimed at encouraging the production of relevant films for a globally competitive cine Filipino. Likewise, this bill recognizes the achievements of actors who are all contributing to the propagation of the nation's artistic heritage. The last few years have witnessed the resurgence of Filipino cinema to prominence. Excellent films and a corps of competent actors are winning laurels for the country. National Artist Lamberto Avellana honoured the Philippines by winning its first Best Film prize in the Asia-Pacific Film Festival for Anak Dalita in 1956. It equaled the outstanding feat of Genghis Khan which was the first Filipino to be exhibited in Cannes Film Festival in 1952. The decade of 1970s signaled the golden age of Filipino cinema. The great auteur Lino Brocka and realist Ishmael Bernal marshaled the exposition of cine Filipino in the Director's Fortnight in Cannes, Berlinale, Montreal and San Sebastian Film Festivals, among others. Brocka's 'Ynsiang", "Jaguar': "Bona" and "Bayan Ko: Kapit sa Patalim"; and Bernal's "Himala" and "Manila By Night: City After Dark" are hallmarks of the era. Of recent, both mainstream and independent films are boosting the country's pride: "Magnifico" , "Ang Munting Tinig", "Maximo Oliveros", "Crying Ladies", "Kubrador", and "Masahista ", among others.
    [Show full text]
  • Fall of Grace: Nora Aunor As Cinema 46
    Flores / Fall of Grace: Nora Aunor as Cinema 46 FALL OF GRACE: NORA AUNOR AS CINEMA Patrick D. Flores University of the Philippines [email protected] Abstract Nora Aunor is enlisted in this speculation as a medium in the register of both the cinema and the transmission of spirit. The key trajectory is the oft-cited film Himala, which opens up a conceptual space for mediumship, the technology of the actress, her biography and corpus of art, and the devotion to her person. The essay constellates a set of texts including the sculpture in honor of Elsa, the main character of Himala, the film Silip, and the life of a fan. Nora, the performative vessel of Elsa, becomes fundamentally cinematic. It is through her that Elsa is fleshed out as a miracle worker of vexing potency. Nora is herself a testament to the transformative potential of the technology of the cinema. Keywords devotion, film, image, medium, spirit, voice About the Author Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He is Adjunct Curator at the National Art Gallery, Singapore. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008).
    [Show full text]
  • 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.
    [Show full text]
  • Lav Diaz.Pdf
    Lying Down In A World Of Tempest Lav Diaz I Alexis Tioseco Over and above describing himself as a filmmaker, Lav Diaz prefers the definition Indictment And Empowerment Of The Individual: of “cultural worker”. Driven by a sense of political engagement, he has denounced The Modern Cinema Of Lav Diaz the series of miseries suffered by the Philippines since the time of Spanish coloni- – p. 5 alism (followed by occupations by both the Japanese and the Americans, as well as a period of martial law), focusing particularly on the years of the Marcos dictator- II Alexis Tioseco In Conversation With Lav Diaz ship. It is a feeling of love for his compatriots and their suffering that pushed him to – p. 11 depict, with a beauty and sense of urgency rarely found in cinema, the daily grind of life in small towns and in the countryside. III Lav Diaz Yet the lengthy, majestic black-and-white frescoes, lasting anywhere between The Aesthetic Challenge Of ‘Batang West Side’ 4 and 11 hours, which brought him to notice on the festival circuit, surely cannot be – p. 37 restricted to kinship with the Slow Cinema movement. Characterised by a radical formalism, his cinematic approach is to recount the life and rhythm of his commu- IV Lav Diaz nity by means of the suffering and slowness that define it. It is for these reasons that Our Death, In Memoriam Lav Diaz can be seen as a major artist for our times: his cinema is that of a peda- – p. 41 gogue—something shared here with that of his intellectual, idealistic father and, still more, with Lino Brocka whose wish it was “to educate his people”—as well V Lav Diaz as bearing essential witness.
    [Show full text]
  • On Film Polls and Pinoy Rebyu Interview with Skilty C
    On Film Polls and Pinoy Rebyu Interview with Skilty C. Labastilla Patrick F. Campos (PFC): What is your motivation or rationale for coming up with a listing of great or best Filipino films? Skilty C. Labastilla (SCL): When I started Pinoy Rebyu in 2010 with a couple of friends, our goal was to come up with a local equivalent of Metacritic or Rotten Tomatoes, where film reviews are collated and scored to come up with an average score per film. In 2011, we started our Yearend Poll feature by inviting 19 film reviewers to submit their top 10 films and performances of the year. I’ve always been fond of “Best of” lists, but most of the “Best Films of All Time” lists I’ve read up to that point were lists by foreign critics and filmmakers. I knew of course that Joel David had already come up with a 1989 poll of greatest Pinoy films (published in the same year) and that Noel Vera came up with his own list of 100 best local films in 2007. In 2012, Sight & Sound, which polls critics and filmmakers every 10 years, released its “Best Films of All Time” list, where Vertigo (Hitchcock, 1958) dislodged Citizen Kane (Welles, 1941), which has been topping the poll since 1962, as the best all-time movie. In 2013, we thought it would be fun to compare the choices of current film reviewers and filmmakers to the choices of those polled in 1989 in order to see which local films have stood the test of time and which ones have fallen out of favor, as well as which one are now deemed the new classics.
    [Show full text]
  • Filmography of Filipino Films 2012 Introduction by Lucenio Martin L
    DOCUMENT Filmography of Filipino Films 2012 Introduction by Lucenio Martin L. Lauzon Compiled by Lucenio Martin L. Lauzon, Maria Regina V. Mendez, and Alex Nicolas P. Tamayo Introduction Philippine cinema in 2012 can be pretty summed up by the box-office triumph of a most unlikely release in The Mistress and the international presence for the country’s national cinema courtesy of Brillante Mendoza. The Mistress is from the country’s leading studio, Star Cinema and is the kind of adult romance that is a throwback to love triangles of circa-1960s dramas involving the likes of Eddie Rodriguez, Lolita Rodriguez and Marlene Dauden in the film cast. It’s not exactly family fare and its success at the tills may hint at the changing dynamics of audience taste and patterns of consumption for local movies. As to the waves the country made overseas, two films directed by Mendoza gained significance. Captive—by all means an international film with a French legendary actress Isabelle Huppert in the lead role—vied for top plum at the main competition in Berlin. Superstar Nora Aunor’s comeback, Thy Womb, managed to land a slot in turn in Venice similarly for main competition. With a phenomenon that may prove distinct for Philippine cinema, industry production was much propelled by a kind of festival craze. Sustained endeavors for Cinemalaya, Cinema One, Cinemanila and Metro Manila Film Festival were matched no less by the Sineng Pambansa National Film Festival under the auspices of the Film Development Council of the Philippines—the national agency tasked to oversee the state of affairs pertinent to the country’s film industry.
    [Show full text]
  • On Bernal's Homage to Manila: a Review of Joel David's Manila By
    REVIEW On Bernal’s Homage to Manila: A Review of Joel David’s Manila by Night: A Queer Film Classic Ronald Baytan It is unfortunate that great works of art in the Philippines usually remain understudied. A critic can count with his/her fingers the single-authorship books on the works of Philippine National Artists like Manuel Conde, Ishmael Bernal, and Lino Brocka. That is why the publication of Joel David’s Manila by Night: A Queer Film Classic, published by Arsenal Pulp Press (Vancouver, Canada) in 2017 is auspicious news. After all, Ishmael Bernal is undisputedly one of the country’s finest directors—and Manila by Night, one of his most outstanding works. Divided into five main sections (three chapters plus introduction and conclusion), Manila by Night: A Queer Film Classic provides an in-depth look at the relevant contexts of Bernal’s film. It situates the work within the history of Philippine cinema, gives adequate biographical information about the auteur, discusses the tradition (both local and foreign) to which Manila by Night belongs, and raises key points about the film’s aesthetics which has not been remarked upon by other critics. The book contains three special sections as well: a quick discussion of queer Filipino films; a list of multi-character movies; and an interview with the late Bernardo Bernardo. While the detailed discussion of Philippine cinema and its contexts gives one the feeling that the audience is primarily Western, the information David provides his readers—Filipino or non-Filipino—is valuable. For it gives the readers a crash course on Philippine cinema and more importantly Plaridel • Vol.
    [Show full text]
  • Lino Brocka and the New Cinema of the Philippines
    91 THE STRUGGLE OF THE OPPRESSED: LINO BROCKA AND THE NEW CINEMA OF THE PHILIPPINES THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Arminda V. Santiago, B.A., M.A. Denton, Texas August 1993 Santiago, Arminda V., The Struggle of the Oppressed: Lino Brocka and the New Cinema of the Philippines. Master of Arts (Radio, Television, Film), August 1993, 227 pp., appendix, bibliography, 115 titles. This study is an examination of Lino Brocka's development as a filmmaker of the New Cinema of the Philippines. It provides a close textual analysis of two recent Brocka films, Macho Dancer (1988) and Fight for Us (1989) using a sociocultural approach to the study of the representation of aspects of social reality and their relationship to contemporary Philippine society. The study is divided into six chapters: Chapter I contains the introduction to the study, Chapter II traces the development of Philippine cinema in relation to Philippine socio-political history, Chapter III describes the New Cinema film movement in the Philippines, Chapter IV provides a biographical sketch of Lino Brocka in which the development of his critical attitude, notions of social reality, and significant works are discussed, Chapter V contains the film analyses, and Chapter VI contains the conclusions to the study. ACKNOWLEDGMENTS The author would like to thank the following institutions and individuals for helping make this thesis possible: The Fulbright-Hays Scholarship Program of the United States Information Agency The Institute of International Education The Philippine American Education Foundation The Institute of Library Science, University of the Philippines The College of Mass Communication, University of the Philippines The Film Center, University of the Philippines The Filipiniana Section of the Main Library, University of the Philippines Professor Grace Javier Alfonso, University of the Philippines Professor Joel S.
    [Show full text]
  • Di Pinatawad Sa Holdap
    WEDNESDAY MAY 20, 2009 PHILIPPINES “If a person made you smile and laugh for how many times already… for sure, that person can make you cry real tears, too.” Landslide --- Kalunus-lunos ang sinapit ng lalaking ito na isinakay sa motorsiklo mula sa pinangyarihan ng landslide sa Pantukan, Compostela Valley. Nasa 26-katao na ang naiulat na nasawi habang 19 pa ang pinaghahanap ng mga awtoridad. Nagpapahinga ang mga biktima sa bunkhouses sa isa sa tunnel ng minahan nang mangyari ang landslide. SANGGOL `DI PINATAWAD SA HOLDAP Walang patawad ang isang holdaper at ang kasabwat nitong tricycle driver dahil tinakot at sinaktan pa ang isang taong gulang na sanggol para lamang ibigay ng ina nito ang dala na malaking halaga ng perang kawi- withdraw lang sa isang bangko sa bayan ng Sigma, Capiz kamakalawa. Sa salaysay ni Christine Ureta, 23-anyos, sa pulisya, kasama niya ang kanyang anak na si Ke Andrew at kagagaling lamang sa isang bangko para mag-withdraw ng pera at sumakay sa isang tricyle pauwi sa kanilang bahay sa Barangay Pari-an. Isang lalaki ang umangkas sa likod ng driver at sila’y umusad tungo sa destinasyon ng mag-ina. Habang nasa daan ay biglang huminto ang tricycle at lumipat ang nakiangkas na lalaki sa kinauupuan ng mag-ina at biglang tinutukan nito ng balisong ang tagiliran ng bata. Kasabay nito, pinipilit ng driver na ibigay na ni Ureta sa kanyang kasama ang dalang bag ng ginang na naglalaman ng P23,000 cash, cellular phone, ATM at ilan pang mahahalagang personal na gamit. Nakiusap pa umano si Ureta na huwag saktan ang kanyang anak at huwag kunin ang dala nitong pera dahil may mahalaga silang pagkakagastusan.
    [Show full text]
  • PHILIPPINE FILM: 1961-1992 Filmmaking in the Philippines
    PHILIPPINE FILM: 1961-1992 Filmmaking in the Philippines reached industry status in the decade of the 1950s. The total output of the various movie companies then in operation kept the two major outlets in Manila at that time—Life Theater on Quezon Boulevard in Quiapo and Cine Dalisay on Rizal Avenue in Santa Cruz—regularly supplied with new Tagalog films. The majority of the feature films were produced by four companies—Sampaguita, LVN, Premiere, and Lebran. Each of them had its own roster of stars and technicians and its own filming equipment and facilities to merit being called a studio. Break-up of the Studio System The “studio system” was characterized principally by long-term planning based on business goals set by the investors. As indicated by the full-page advertisements that usually made their appearance in the yearend issues of the movie magazines of the time, planning meant lining up a predetermined number and variety of film offerings for the entire forthcoming year, consisting of action pictures, melodramas, comedies, musicals, fantasy films, and whatever else was deemed appealing to a variegated audience. Under such a system, the audience was provided with alternatives. Not that the alternatives were severally stamped with quality as individual motion pictures. As a matter of fact, the studio system turned out mostly formula-oriented movies to ensure easy acceptability among audiences who were thought to be passive viewers seeking only to be entertained. Nevertheless, with four studios competing for the patronage of moviegoers, the array of film offerings was guarantee enough that the audience had a choice.
    [Show full text]