A Certain Tendency Europeanization As a Response to Americanization in the Philippines’ “Golden-Age” Studio System
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Sharon's Noranian Turn: Stardom, Embodiment, and Language in Philippine Cinema
Sharon's Noranian Turn: Stardom, Embodiment, and Language in Philippine Cinema Bliss Cua Lim Discourse, Volume 31, Number 3, Fall 2009, pp. 318-358 (Article) Published by Wayne State University Press For additional information about this article http://muse.jhu.edu/journals/dis/summary/v031/31.3.lim01.html Access Provided by University of California @ Irvine at 11/09/10 7:10PM GMT Sharon’s Noranian Turn: Stardom, Embodiment, and Language in Philippine Cinema Bliss Cua Lim Writing in 1965 under the pseudonym Quijano de Manila, National Artist Nick Joaquin vividly describes an era when the decline of the great Philippine film studios spawned an unbridled “star system still in apogee.” In the 1960s, star worship fuels the popular cinema and feeds “the avarice of the independent producer.” The middle- class lament that mainstream Filipino movies are hardly “quality” pictures, Joaquin writes impatiently, misses the point: “The movie fans crowd to a local movie not because they expect a sensible story or expert acting or even good entertainment”; instead, they go to the movies to see the stars they adore—action film kings Fernando Poe Jr. and Joseph Estrada, glamour goddesses Amalia Fuentes and Susan Roces. “Our movie idols remain idolized, whatever the quality of their vehicles, as long as they remain impossibly young, impossibly glamorous, impossibly beautiful”1 (figure 1). This is a form of star worship that, in its emphasis on an unrealizable world, ends by preventing audience identification. The spectatorial plea- sures offered by the star system of the early to mid-1960s, Joaquin argues, are not driven by identification but by wonder, idolatry practiced from afar. -
1 Hawaii Invasive Species Council (HISC) Research and Technology
Hawaii Invasive Species Council (HISC) Research and Technology Grant Program, Progress/Final Report Project Title: Identifying Sex Pheromone Components of the Nettle Caterpillar, Darna pallivitta (Moore), to Facilitate Detection and Pheromone Disruption Control Principal Investigators: Matthew S. Siderhurst1, Eric B. Jang1, Arnold H. Hara2, Patrick Conant3 1US Pacific Basin Agric. Res. Center, USDA-ARS, P.O. Box 4459, Hilo, HI 2Dept. Plant Environ. Protect. Sci., CTAHR, University of Hawaii at Manoa, 461 West Lanikaula Street, Hilo, HI 3 Hawaii Dept. Agric., 16 East Lanikaula St., Hilo, HI 1 Executive Summary: The nettle caterpillar, Darna pallivitta (Moore), is an invasive pest on the island of Hawai’i, causing defoliation of ornamental nursery stock and posing a human health hazard due to their painful sting. Wind tunnel and field tests with 2 day old moths revealed male behavioral responses to caged females consistent with a female released sex pheromone. Coupled gas chromatography-electroantennogram detection (GC-EAD) analysis of abdominal tip extracts revealed two male electroantennographically active compounds produced by female D. pallivitta. Mass spectral analysis and subsequent synthesis identified the active compounds as n- butyl (E)-7,9-decadienoate (major component) and ethyl (E)-7,9-decadienoate (minor component), both structurally similar to sex pheromone components previous reported from related Darna spp. Additionally, methyl (E)-7,9-decadienoate was identified from female abdominal extracts and a strong EAD response was elicited by the synthetic compound. n-Butyl (E)-7,9-decadienoate was the only component detected by solid phase microextraction (SPME) collections from single calling female moths, however the absence of the minor components may be a result of their lower abundance. -
Women in Filipino Religion-Themed Films
Review of Women’s Studies 20 (1-2): 33-65 WOMEN IN FILIPINO RELIGION-THEMED FILMS Erika Jean Cabanawan Abstract This study looks at four Filipino films—Mga Mata ni Angelita, Himala, Ang Huling Birhen sa Lupa, Santa Santita—that are focused on the discourse of religiosity and featured a female protagonist who imbibes the image and role of a female deity. Using a feminist framework, it analyzes the subgenre’s connection and significance to the Filipino consciousness of a female God, and the imaging of the Filipino woman in the context of a hybrid religion. The study determines how religion is used in Philippine cinema, and whether or not it promotes enlightenment. The films’ heavy reference to religious and biblical images is also examined as strategies for myth-building. his study looks at the existence of Filipino films that are focused T on the discourse of religiosity, featuring a female protagonist who imbibes the image and assumes the role of a female deity. The films included are Mga Mata ni Angelita (The Eyes of Angelita, 1978, Lauro Pacheco), Himala (Miracle, 1982, Ishmael Bernal), Ang Huling Birhen sa Lupa (The Last Virgin, 2002, Joel Lamangan) and Santa Santita (Magdalena, 2004, Laurice Guillen). In the four narratives, the female protagonists eventually incur supernatural powers after a perceived apparition of the Virgin Mary or the image of the Virgin Mary, and incurring stigmata or the wounds of Christ. Using a feminist framework, this paper through textual analysis looks at the Filipino woman in this subgenre, as well as those images’ connection and significance to the Filipino consciousness of a female God. -
Spectacle Theater
SUN MON TUES Wed thurs fri SAT 1 2 3 4 5 SPECTACLE 7:30 7:30 7:30 7:30 5:00 PROTECTORS OF THE Queen of burlesque THE PINK EGG EAT MY DUST LADY OF BURLESQUE UNIVERSE Director Q&A! 7:30 10:00 10:00 10:00 FLASH FUTURE KUNG FU SPACE THUNDER KIDS HARD BASTARD 10:00 LITTLE MAD GUY 10:00 LADY OF BURLESQUE DArnA VS. THE PLANET WOMEN Midnight HERCULES UNCHAINED Midnight THE HORROR OF SPIDER ISLAND 6 7 8 9 10 11 12 3:00 7:30 7:30 7:30 7:30 7:30 5:00 blood brunch the pink egg Solar adventure dog day pizza, birra, Faso flash future kung fu lady of burlesque 5:00 7:30 keep cool 10:00 10:00 10:00 10:00 10:00 darna vs. the planet lost & forgotten cinema little mad guy space transformer eat my dust protectors of the space thunder kids women 7:30 universe Contemporary underground • special events Queen of burlesque 10:00 Midnight hard bastard the horror of spider island Midnight I.K.U. 13 14 15 16 17 18 19 3:00 7:30 7:30 7:30 7:30 7:30 & 10:00 5:00 fist church hard bastard pizza, birra, Faso Queen of burlesque dog day silent lovers yeast ONE NIGHT ONLY! 5:00 7:30 the pink egg 10:00 10:00 10:00 10:00 8Ball tv space transformer keep cool darna vs. the planet solar adventure Midnight ONE NIGHT ONLY! 7:30 women the horror of spider eat my dust island 10:00 little mad guy Midnight hercules unchained 20 21 22 23 24 25 26 3:00 7:30 7:30 7:30 7:30 7:30 5:00 blood brunch solar adventure MATCH CUTS PRESENTS Queen of burlesque eat my dust keep cool space transformer ONE NIGHT ONLY! 5:00 7:30 flash future kung fu 10:00 10:00 10:00 10:00 10:00 space thunder kids dog day I.K.U hard bastard YEAST the pink egg 7:30 10:00 space thunder kids I.K.U. -
Lopez Group Lalong Tatatag Sa Susunod Na 5 Taon
January 2006 Lopez execs bag Excel awards ...p. 6 Lopez Group lalong tatatag sa susunod na 5 taon By Carla Paras-Sison Upang makamit ang katatagan at Media and communications paglago na inaasahan ni OML sa Para sa ABS-CBN Broadcasting “Though there are still daunting envi- susunod na limang taon, idinulog ng Corp., kailangang patatagin ang organ- ronmental imponderables and also ma- Benpres Holdings Corporation sa isasyon, mabawi ang pangunguna sa jor business problems in some of our bawa’t kumpanya ng mga kailangang Mega Manila TV ratings at ipagpatuloy companies, I am optimistic that we are mangyari sa taong 2006. ang paglago ng ABS-CBN Global. making definite progress toward group stability, growth and increased prof- Turn to page 2 Meralco Phase 4 itability in the next five years,” pa- hayag ni LopezGroup chairman Oscar refund ongoing...p. 2 M. Lopez(OML) sa nakaraang Strate- gic Planning Conference. Abangan ang ‘Pinoy Big Brother’ Season 2! ...p. 5 2 LOPEZLINK January 2006 Lopez Group lalong tatatag ... from page 1 Bagama’t nakapaglunsad ng mga mga bagong proyekto para sa strategic ings sa 2006 kung maaprubahan ang Para sa Manila North Tollways Property development bagong programa ang ABS-CBN growth. rate hike na hinihiling ng Meralco. Corp. (MNTC), nakatuon ang pansin Inaasahang mabebenta ng Rockwell noong 2005, hindi pa nito nababawi Sa Sky Cable, inaasahang magawa Walumpu’t dalawang porsiyento sa pagpapadami ng motoristang du- Land Corporation ang 100% ng Joya ang leadership sa Mega Manila TV ang pilot encryption ng Sky Cable ng kita ng First Holdings ay mangga- madaan sa North Luzon Expressway condominium sa taong ito. -
Si Judy Ann Santos at Ang Wika Ng Teleserye 344
Sanchez / Si Judy Ann Santos at ang Wika ng Teleserye 344 SI JUDY ANN SANTOS AT ANG WIKA NG TELESERYE Louie Jon A. Sánchez Ateneo de Manila University [email protected] Abstract The actress Judy Ann Santos boasts of an illustrious and sterling career in Philippine show business, and is widely considered the “queen” of the teleserye, the Filipino soap opera. In the manner of Barthes, this paper explores this queenship, so-called, by way of traversing through Santos’ acting history, which may be read as having founded the language, the grammar of the said televisual dramatic genre. The paper will focus, primarily, on her oeuvre of soap operas, and would consequently delve into her other interventions in film, illustrating not only how her career was shaped by the dramatic genre, pre- and post- EDSA Revolution, but also how she actually interrogated and negotiated with what may be deemed demarcations of her own formulation of the genre. In the end, the paper seeks to carry out the task of generically explicating the teleserye by way of Santos’s oeuvre, establishing a sort of authorship through intermedium perpetration, as well as responding on her own so-called “anxiety of influence” with the esteemed actress Nora Aunor. Keywords aura; iconology; ordinariness; rules of assemblage; teleseries About the Author Louie Jon A. Sánchez is the author of two poetry collections in Filipino, At Sa Tahanan ng Alabok (Manila: U of Santo Tomas Publishing House, 2010), a finalist in the Madrigal Gonzales Prize for Best First Book, and Kung Saan sa Katawan (Manila: U of Santo To- mas Publishing House, 2013), a finalist in the National Book Awards Best Poetry Book in Filipino category; and a book of creative nonfiction, Pagkahaba-haba Man ng Prusisyon: Mga Pagtatapat at Pahayag ng Pananampalataya (Quezon City: U of the Philippines P, forthcoming). -
Expressions of Tagalog Imaginary the Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959)
ISSN: 0041-7149 ISSN: 2619-7987 VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio p. AfricA . UNITAS Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) . VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio P. AfricA since 1922 Indexed in the International Bibliography of the Modern Language Association of America Expressions of Tagalog Imgaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Copyright @ 2016 Antonio P. Africa & the University of Santo Tomas Photos used in this study were reprinted by permission of Mr. Simon Santos. About the book cover: Cover photo shows the character, Mercedes, played by Rebecca Gonzalez in the 1950 LVN Pictures Production, Mutya ng Pasig, directed by Richard Abelardo. The title of the film was from the title of the famous kundiman composed by the director’s brother, Nicanor Abelardo. Acknowledgement to Simon Santos and Mike de Leon for granting the author permission to use the cover photo; to Simon Santos for permission to use photos inside pages of this study. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). -
GMA Films, Inc., Likewise Contributed to the Increase Our Company
Aiming Higher About our cover In 2008, GMA Network, Inc. inaugurated the GMA Network Studios, the most technologically-advanced studio facility in the country. It is a testament to our commitment to enrich the lives of Filipinos everywhere with superior entertainment and the responsible delivery of news and information. The 2008 Annual Report’s theme, “Aiming Higher,” is our commitment to our shareholders that will enable us to give significant returns on their investments. 3 Purpose/Vision/Values 4 Aiming Higher the Chairman’s Message 8 Report on Operations by the EVP and COO 13 Profile of the Business 19 Corporate Governance 22 A Triumphant 2008 32 GMA Network Studios 34 Corporate Social Responsibility 38 A Rewarding 2008 41 Executive Profile 50 Contact Information 55 Financial Statements GMA ended 2008 awash with cash amounting to P1.688 billion and free of debt, which enabled us to upgrade our regional facilities, complete our new building housing state-of-the-art studios and further expand our international operations. AIMING HIGHER THE CHAIRMAN’S MESSAGE Dear Fellow Shareholders: The year 2008 will be remembered for the Our efforts in keeping in step with financial crisis that started in the United States and its domino-effect on the rest of the world. The the rest of the world will further Philippine economy was not spared, and for the first time in seven years, gross domestic product improve our ratings and widen our (GDP) slowed down to 4.6%. High inflation, high reach as our superior programs will oil prices and the deepening global financial crisis in the fourth quarter caused many investors serious be better seen and appreciated by concerns. -
Batanes, Laoag & Vigan
The UNESCO World Heritage listed City of Vigan BATANES For more information please batanes, • BASCO scan the QR-code below LAoAG & VIGAN PAGUDPUD • LAOAG INTL. AIRPORT •• LAOAG CITY VIGAN CITY • ALAMINOS CITY • Follow us for more information on Philippine CLARK INTL. AIRPORT • tourism destinations NINOY AQUINO INTL. AIRPORT •• MANILA @PhilippinesinUK @Philippines_UK @Philippines_UK #itsmorefuninthephilippines #bepartofthefun #morefunforever B ata nes All you need Download our CEBU CITY • Visit Philippines app from to know your mobile app store lAoag & The northern Luzon cities of Laoag and Vigan together with the remote archipelagic province of Batanes lie largely off-the-beaten track when it comes to international tourism. These destinations are mainly accessible vigan by land travel on winding paved roads with picturesque views, specially in the mountain regions, or in the case of Batanes, by air. Where GetTing to to Stay and Around Accommodation on Batanes Islands is Climate To get to the Ilocos Norte area, fl y to Laoag inexpensive and unpretentious. Most travellers from Manila in around 70mins. You can’t fl y stay in lodges, hotels, inns and homestays Tropical Northern Luzon has an average yearly from Laoag to Batanes, however fl ights from in Basco, the provincial capital. For a more temperature of 26°C without much variation either Manila to Basco on main Batan Island take upscale, unique hotel experience, stay at side; the coolest months are November to February. Department of Tourism around 1hr 20mins, or it’s an hour’s fl ight the art-gallery-style Fundacion Pacita. The rainiest month is August, the driest is April. -
SARE, Vol. 58, Issue 1 | 2021
SARE, Vol. 58, Issue 1 | 2021 Making Space for Myth: Worldbuilding and Interconnected Narratives in Mythspace Francis Paolo Quina University of the Philippines-Diliman, Quezon City, the Philippines Abstract The comics medium has long proven to be fertile ground for worldbuilding, spawning not only imaginary worlds but multiverses that have become international transmedial franchises. In the Philippines, komiks (as it is called locally) has provided the Filipino popular imagination with worlds populated by superheroes, super spies, supernatural detectives, and creatures from different Philippine mythologies. The komiks series Mythspace, written by Paolo Chikiamco and illustrated by several artist-collaborators, takes the latter concept, and launches it into outer space. Classified by its own writer as a “Filipino space opera” consisting of six loosely interconnected stories, Mythspace presents a storyworld where the creatures of Philippine lower mythologies are based on various alien species that visited the Philippines long ago. The article will examine the use of interconnected narratives as a strategy for worldbuilding in Mythspace. Drawing from both subcreation and comic studies, this article posits that interconnected narratives is a worldbuilding technique particularly well-suited to comics, and that the collaborative nature of the medium allows for a diversity of genres and visual styles that can be used by future komiks creators to develop more expansive storyworlds. Keywords: comics studies, subcreation studies, storyworlds, Mythspace, the Philippines The comics medium has long proven to be fertile ground for worldbuilding. It has spawned not only storyworlds in the pages of comic books and graphic novels but given birth to multiverses of storytelling across several media. -
From Colonial Policy to National Treasure: Tracing the Making of Audiovisual Heritage in the Philippines Bernadette Rose Alba Patino
From Colonial Policy to National Treasure: Tracing the Making of Audiovisual Heritage in the Philippines Bernadette Rose Alba Patino This study traces the history and construction of institutionalized cultural and audiovisual heritage in the Philippines and investigates how evolving views of heritage have shaped the country’s audiovisual archiving and preservation movement in the last fifty years. It examines the impact of naturalized definitions of heritage, as globalized by the United Nations Educational, Scientific, and Cultural Organization (UNESCO), and the implementation of audiovisual archival institution building, cultural policies, and archival priorities in the Philippines under the heritage banner set out by the organization. Considering the formation of what heritage scholars call “authorized heritage discourse” (AHD), this paper argues that a heritage hierarchy emerged in the country’s contemporary audiovisual archiving landscape, privileging an industrial view of cinema while marginalizing other forms of moving image practice. The study calls for an awareness of and resistance to institutionalized archives’ claims to social, cultural, and political power in their heritage construction and discourse. Keywords: audiovisual heritage, audiovisual archiving, authorized heritage discourse, Philippine cinema, UNESCO cultural policies Throughout the long history of the audiovisual archiving and preservation movement in the Philippines, a myriad of institutions, organizations, and individuals has wielded the concept of heritage to -
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English for Academic and Professional Purposes Reader This learning resource was collaboratively developed and reviewed by educators from public and private schools, colleges, and/or universities. We encourage teachers and other education stakeholders to email their feedback, comments and recommendations to the DepartmentDEPED of Education at [email protected] COPY. We value your feedback and recommendations. Department of Education Republic of the Philippines i All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2016. English for Academic and Professional Purposes Reader First Edition 2016 Republic Act 8293. Section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this learning resource are owned by their respective copyright holders. DepEd is represented by the Filipinas Copyright Licensing Society (FILCOLS), Inc. in seeking permission to use these materials from their respective copyright owners. All means have been exhausted in seeking permission to use these materials. The publisher and authors do not represent nor claim ownership over them Only institutions and companies which have entered an agreement with FILCOLS and only within the agreed framework may copy from this Reader.