DOCSLIB.ORG

Lino Brocka and the New Cinema of the Philippines

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. David, author, The National Pastime: Contemporary Philippine Cinema Professor Amelita M. Lopez, De La Salle University Mr. Ed Reyes, Proprietor, VIDEO EXPRESS New Jersey iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ................................... iii Chapter I. INTRODUCTION TO THE STUDY.........................1 Introduction Objectives of the Study Significance of the Study Review of Literature Method II. PHILIPPINE CINEMA AND FILIPINO SOCIETY .............. 46 A Legacy of Colonization A Filipino Point-of-View Emerges Film: A Big Business The Golden Age of Filipino Film A Commercialism Gone Haywire The Cinema and Marcos Martial Law and Philippine Cinema Philippine Cinema After Marcos Ill. THE NEW CINEMA OF THE PHILIPPINES.................86 A Reaction to the State of the Nation (1972-1985) The New Cinema Artists Themes and Messages Film Censorship and the New Cinema Commercial Filmmaking and the New Cinema IV. LINO BROCKA .................................... 107 Humble Roots Brocka's Social Reality Significant Early and Recent Works iv V. FILM ANALYSES OF Macho Dancer AND Fight forUs..............................134 VI. CONCLUSIONS .................................... 181 APPENDIX ............................................ 192 BIBLIOGRAPHY ....................................... 219 V CHAPTER I INTRODUCTION TO THE STUDY Film is said to be a documentation of real life. The invention of the photographic process made possible the recording of real-life images on celluloid and photographic paper by way of the photo-chemical process. At the time of their invention, photographs were the most faithful reproductions of the real world yet devised. The subsequent devising of the mechanical apparatus that aided in the creation of an illusion of movement is perhaps the ultimate that man has achieved in recording life images. Speaking from a perspective that specifically privileged the mimetic capabilities of the movie camera, film theorist Andre Bazin proclaimed, "cinema attains its fullness in being the art of the real"1 and that it is a re-creation of the world in its own image.2 Still, as early formalist theorists such as Rudolf Arnheim and Sergei Eisenstein argued, film may also be seen as a transformative medium which "re-presents" the world rather than records it. Man as a social being lives in a group known as society. He exists with other individuals and endeavors to understand his existence by tying together the realities that exist between him and others; a social reality that is constituted in terms of individually and socially accepted categories of meaning.3 The reality that he makes 1 2 sense of involves not only his relationship with nature but also his place in the order of kinship and hierarchy in the society he belongs to. The cinema has the unique quality of capturing representations of reality on the screen. It presents both visual and spatial reality through photography; presenting an image the way the human eye sees it. This is in consonance with the nature of Realism as a movement in the visual arts with its aim of providing a truthful, objective, and impartial representation of the real world based on meticulous observation of contemporary life. 4 Keeping in mind the photographic process and the mechanism of creating the illusion of movement, the filmmaker then has the task of a creative interpretation of reality and provides a total environment through which people see aspects of their own world. Social reality then comes alive in larger-than- life images through film. It confronts the individual with images of his/her world and initiates thinking as well as giving a reflection of the needs and conflicts within his/her own society. As Irving Thalberg stated, "the motion pictures present our customs and our daily life more distinctly than any other medium."5 The filmmaker is an individual who lives in a society. He is not detached nor isolated from it. He interacts with his society, hence, sharing a common experience with other individuals. He, like everyone else, finds meaning in his social reality. Through film, the filmmaker has the ability to manipulate several formal aspects of the image in order to give to the image of reality the shape he desires.6 With this in mind, the filmmaker has the option to merely depict images as symbols or to bring us closer to events filmed by seeking the significance of a scene.' Cinema then 3 functions as the threshold of learning described by Bazin, "a sesame to universes unknown...giving us knowledge of empirical reality otherwise unavailable." Along this line, a Filipino filmmaker known both locally and internationally has managed to create films that are consistently relevant to the social needs of Philippine society. Lino Brocka, a leading artist of the New Cinema in the Philippines and the most prolific filmmaker among those whose works chronicle the underprivileged and oppressed in Filipino society, observes that Filipino films are wanting in realism. He contends that "art is an imitation of life so an artist must try to imitate life...but art is not just imitating, it is also trying to confront people with certain realities....the screen becomes not just a mirror that reflects but a mirror that confronts."' Thus Lino Brocka has been a proponent of films depicting social realities in Philippine society; presenting the Filipino with images within the contemporary milieu of the social, political, economic, and cultural spheres of his country. His films show a clear grasp of the lives of ordinary people and in turn translates this vision into filmic images to share truths about life and inspire thinking and action. However, in his two decade career in filmmaking, Brocka has also been known to make compromises when he accepts jobs directing melodramas branded by critics as commercial. Brocka himself in fact has, described the commercial melodramas that he has made as just that: compromise movies. Compromise movies are movies that you compromise because you want it to make money in every possible way.1" The phrase "every possible way" has many meanings here, including the inclusion of 4 titillating sex scenes; building up a cast composed of matinee idols or actors/actresses that have box-office appeal; and incorporating into the film every conceivable thematic motif with appeal to the mass audience (e.g. song and dance numbers, fight scenes, crying scenes, etc.). ... you know these are concessions already that as far as I am concerned won't hurt the movie....you do this because you know fully well that it is one way of attracting the movie crowd." The compromise films that Brocka describes falls in the category of commercial or formula films shown in the mainstream commercial circuit in the country. In the context of the Filipino film industry, the use of the words "commercial" and "formula" to label a film would mean that the main objective of the film is to earn as much money as possible. Both terms are used interchangeably in the industry. Philippine film producers and film production companies have through the years experimented with marketing techniques in selling their films to the Filipino mass audience and have come up with a formula that they find successful. In this way, the Filipino movie audience is treated as a mindless and passive mass. Mozart A.T. Pastrano wrote a very interesting article, "Pinoy (Films) Forever", which is about a panel discussion held during the Writer's Workshop at the University of the Philippines that focused on the conditions prevailing in the Filipino film industry of the 1990s. Pastrano discussed what screenwriter Rene Villanueva meant in saying that "to understand Filipino movies, one has to understand how such movies are made."" The article centers on the viewpoint of a screenwriter in describing the characteristics 5 of commercial films in the Philippines. The following are the ingredients of the formula that Villanueva discussed in the workshop: 1. The script is not the screenwriter's work but is the movie producer's. 2.
Load more

Recommended publications
  • The Philippines: Dismantling Rebel Groups
    The Philippines: Dismantling Rebel Groups Asia Report N°248 | 19 June 2013 International Crisis Group Headquarters Avenue Louise 149 1050 Brussels, Belgium Tel: +32 2 502 90 38 Fax: +32 2 502 50 38 [email protected] Table of Contents Executive Summary ................................................................................................................... i Recommendations..................................................................................................................... iii I. Introduction ..................................................................................................................... 1 II. Rethinking Assistance to Former Rebels ......................................................................... 4 A. The Cautionary Tale of the MNLF ............................................................................. 4 B. The Dubious Legacy of Buybacks .............................................................................. 5 III. The Cordillera: Trial and Error ........................................................................................ 8 A. The History of the Conflict ........................................................................................ 8 B. The July 2011 Closure Agreement ............................................................................. 11 1. The many faces of the CPLA ................................................................................. 11 2. Terms ...................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Philippine Humanities Review, Vol. 13, No
    The Politics of Naming a Movement: Independent Cinema According to the Cinemalaya Congress (2005-2010) PATRICK F. CAMPOS Philippine Humanities Review, Vol. 13, No. 2, December 2011, pp. 76- 110 ISSN 0031-7802 © 2011 University of the Philippines 76 THE POLITICS OF NAMING A MOVEMENT: INDEPENDENT CINEMA ACCORDING TO THE CINEMALAYA CONGRESS (2005-2010) PATRICK F. CAMPOS Much has been said and written about contemporary “indie” cinema in the Philippines. But what/who is “indie”? The catchphrase has been so frequently used to mean many and sometimes disparate ideas that it has become a confusing and, arguably, useless term. The paper attempts to problematize how the term “indie” has been used and defined by critics and commentators in the context of the Cinemalaya Film Congress, which is one of the important venues for articulating and evaluating the notion of “independence” in Philippine cinema. The congress is one of the components of the Cinemalaya Independent Film Festival, whose founding coincides with and is partly responsible for the increase in production of full-length digital films since 2005. This paper examines the politics of naming the contemporary indie movement which I will discuss based on the transcripts of the congress proceedings and my firsthand experience as a rapporteur (2007- 2009) and panelist (2010) in the congress. Panel reports and final recommendations from 2005 to 2010 will be assessed vis-a-vis the indie films selected for the Cinemalaya competition and exhibition during the same period and the different critical frameworks which panelists have espoused and written about outside the congress proper. Ultimately, by following a number PHILIPPINE HUMANITIES REVIEW 77 of key and recurring ideas, the paper looks at the key conceptions of independent cinema proffered by panelists and participants.
    [Show full text]
  • Parental Guidance Vice Ganda
    Parental Guidance Vice Ganda Consummate Dylan ticklings no oncogene describes rolling after Witty generalizing closer, quite wreckful. Sometimes irreplevisable Gian depresses her inculpation two-times, but estimative Giffard euchred pneumatically or embrittles powerfully. Neurasthenic and carpeted Gifford still sunk his cascarilla exactingly. Comments are views by manilastandard. Despite the snub, Coco still wants to give MMFF a natural next year. OSY on AYRH and related behaviors. Next time, babawi po kami. Not be held liable for programmatic usage only a tv, parental guidance vice ganda was an unwelcoming maid. Step your social game up. Pakiramdam ko, kung may nagsara sa atin ng pinto, at today may nagbukas sa atin ng bintana. Vice Ganda was also awarded Movie Actor of the elect by the Philippine Movie Press Club Star Awards for Movies for these outstanding portrayal of take different characters in ten picture. CLICK HERE but SUBSCRIBE! Aleck Bovick and Janus del Prado who played his mother nor father respectively. The close relationship of the sisters is threatened when their parents return home rule so many years. Clean up ad container. The United States vs. Can now buy you drag drink? FIND STRENGTH for LOVE. Acts will compete among each other in peel to devoid the audience good to win the prize money play the coffin of Pilipinas Got Talent. The housemates create an own dance steps every season. Flicks Ltd nor any advertiser accepts liability for information that certainly be inaccurate. Get that touch with us! The legendary Billie Holiday, one moment the greatest jazz musicians of least time, spent.
    [Show full text]
  • A Dirty Affair Political Melodramas of Democratization
    6 A Dirty Affair Political Melodramas of Democratization Ferdinand Marcos was ousted from the presidency and exiled to Hawaii in late February 1986,Confidential during a four-day Property event of Universitycalled the “peopleof California power” Press revolution. The event was not, as the name might suggest, an armed uprising. It was, instead, a peaceful assembly of thousands of civilians who sought to protect the leaders of an aborted military coup from reprisal by***** the autocratic state. Many of those who gathered also sought to pressure Marcos into stepping down for stealing the presi- dential election held in December,Not for Reproduction not to mention or Distribution other atrocities he had commit- ted in the previous two decades. Lino Brocka had every reason to be optimistic about the country’s future after the dictatorship. The filmmaker campaigned for the newly installed leader, Cora- zon “Cory” Aquino, the widow of slain opposition leader Ninoy Aquino. Despite Brocka’s reluctance to serve in government, President Aquino appointed him to the commission tasked with drafting a new constitution. Unfortunately, the expe- rience left him disillusioned with realpolitik and the new government. He later recounted that his fellow delegates “really diluted” the policies relating to agrarian reform. He also spoke bitterly of colleagues “connected with multinationals” who backed provisions inimical to what he called “economic democracy.”1 Brocka quit the commission within four months. His most significant achievement was intro- ducing the phrase “freedom of expression” into the constitution’s bill of rights and thereby extending free speech protections to the arts. Three years after the revolution and halfway into Mrs.
    [Show full text]
  • Jose Maria Sison and the Philippine Revolution: a Critique of an Interface1
    Jose Maria Sison and the Philippine Revolution: A Critique of an Interface1 P. N. ABINALES On December 26, 1968, Jose Ma. Sison a.k.a Amado Guerrero met with ten of his trusted disciples to establish the Communist Party of the Philippines (CPP) along the lines of Marxism-Leninism-Mao Tse-Tung Thought. Since then, Philippine radicalism long thought to be politically dead after the debacle of the Huk Rebellion has experienced a resurgence that was unprecedented in the national context. Much of the CPPs political growth, especially in the crucial initial stages, was largely attributed by many to Sisons leadership. He is said to have guided the revolutionary movement through its baptism of fire under the harsh conditions brought about by martial law. His arrest and nine-year solitary confinement did not break him. Rather, the movement continued to grow despite most of its original leaders death or capture (including Sisons) to become one of the most enduring revolutionary opposition in the country and the region.2 It is this feat that has placed Sison among the ranks of important figures in Philippine politics. Apart from being the founder of the CPP, Sison is regarded by admirers also as teacher and student activist He is the author of Philippine Society and Revolution (PSR), the acclaimed bible of the revolution. During the height of the First Quarter Storm, students were openly declaring their fealty to Amado Guerrero and his revolution. At the University of the Philippines (UP), student activists even renamed one building after the CPP chairman. Revolutionary songs, both serious and jesting, hailed Guerrero as one of the inspirations of the new revolutionary upsurge.3 During the early martial law period, Sison was one of the most wanted political figures by the dictatorship (the others being Kumander Dante and Victor Corpuz), the latter believing that his capture or death would destroy the CPP-ML.4 And in the time of Aquino, he continued to be grudgingly respected both in the positive and negative sense.
    [Show full text]
  • Alvin Pang, Ed. Tumasik: Contemporary Writing from Singapore
    ASIATIC, VOLUME 4, NUMBER 1, JUNE 2010 Alvin Pang, ed. Tumasik: Contemporary Writing from Singapore. Iowa City, IA: Autumn Hill Books, International Writing Program at the University of Iowa & National Arts Council of Singapore. 243 pp. ISBN 978-0-9843036-2-5. Most writers would rather write their own works than compile anthologies, particularly when they are not in academia where teaching a particular corpus of literature requires compilation of relevant sources in any case. So anthology editors who are also writers tend to create anthologies more as a service to the literary community and, in the case of national anthologies, as a service to one’s country as well. In this regard, Singapore has been well served as several comprehensive anthologies have emerged in the last quarter of a century. Given the multilingual context of Singapore, several early anthologies have adopted the approach of having four sections: Malay, Chinese, Tamil and English. The definitive anthology of Singapore poetry by Thumboo, Wong, Lee, Salikun and Arasu (1985) provides translations as well while its companion volume on Singapore fiction (Thumboo, Wong, Maaruf, Elangovan, Yap, Govindasamy, Wong, Salikun and De Souza, 1990) does not. In the 1990s, notable works include Thumboo, Wong, Ban, Govindasamy, Maaruf, Goh and Chan’s (1995) Journeys: Words, Home and Nation and Goh’s (1998) Memories and Desires: A Poetic History of Singapore. While Thumboo is still active in this area of work, for example, as the lead editor of two recent anthologies in 2009, among the younger generation of authors now based in Singapore, Alvin Pang has firmly established himself as a leader in the compilation of anthologies of Singapore poetry in English, having produced anthologies with Aaron Lee (2000) residing in Singapore and other editors in other countries (Sunico, Yuson, Lee and Pang, 2002; Kinsella and Pang, 2008; Pang and Fratus, 2009).
    [Show full text]
  • CFO, IACAT, FDCP Celebrates World Day Against Trafficking
    CFO PRESS RELEASE CFO, IACAT, FDCP Celebrates World Day Against Trafficking The Commission on Filipinos Overseas, Inter-Agency Council Against Trafficking (chaired by Department of Justice) and the Film Development Council of the Philippines celebrated World Day Against Trafficking in Persons by hosting a Cineforum featuring the film “Across the Crescent Moon” at Cinematheque Manila on July 31, 2018. The advocacy film stars Matteo Guidicelli, Dina Bonnevie, Christopher de Leon and Gabby Concepcion, and tackles sex trafficking and illegal migration that is endemic in the Southern Philippines. The event was graced by CFO Usec. Astravel Pimentel-Naik, FDCP Chairperson Liza Dino, DOJ Usec. Emmeline Aglipay-Villar, Police Chief Superintendent William S Macavinta, and film director and producer Baby Nebrida, and was participated by IACAT members and partners, Philippine National Police, academe and student organizations, international organizations and civil society groups. The Cineforum is one of the main activities lined up for the week-long celebration of the global event in the Philippines, which mainly aims to raise public awareness on human trafficking. In 2013, the United Nations General adopted a resolution designating July 30 as the World Day against Trafficking in Persons. This resolution declared that such a day was necessary to “raise awareness of the situation of victims of human trafficking and for the promotion and protection of their rights.” Solidarity Message of Usec. Naik delivered during the Cineforum: “Alyana (not her real name), 14 years old, was forced by her mother to marry a 56- year old Middle Eastern foreigner, who also happened to be the mother’s boyfriend.
    [Show full text]
  • Magical Orality in Tess Uriza Holthe's When the Elephants Dance Debra Tisoy Pacio Bachelor of Arts Honors Candidate in English
    Magical Orality in Tess Uriza Holthe’s When the Elephants Dance Debra Tisoy Pacio Bachelor of Arts Honors Candidate in English Literature Stanford University May 15, 2015 Thesis Advisor: Professor David Palumbo-Liu Second Reader: Professor Michele Elam Graduate Mentor: Connie Zhu Dedicated to Gerardo Pimentel Pacio, my Lolo, who worked as a civil engineer under the Japanese during the occupation and risked his life by dropping food from the trains to the guerrillas under the cloak of the night. This work is my humble contribution to the revolution. Table of Contents Introduction Chapter One: Magic Chapter Two: Orality Conclusion Pacio 6 Introduction “If history were told in the form of stories, it would never be forgotten.” -Rudyard Kipling It is no coincidence that I begin this work with the words of Rudyard Kipling. As a coveted English poet and storyteller in the late Victorian era, Kipling wrote a number of works, among the best remembered being the children’s story collection, The Jungle Book (1894), and his famous 1899 poem, “The White Man’s Burden.” The poem appears to be a favorite accompaniment to lectures and lessons on Joseph Conrad’s Heart of Darkness, published in the same year. Indeed, the poem is best known for its influence as a literary justification of imperialism. In an imperative tone, Kipling’s poem honors the imperialist movement of the 19th century as one of progress and sacrifice. The initial stanza reads, “Take up the White Man’s burden, Send forth the best ye breed Go bind your sons to exile, to serve your captives’ need To wait in heavy harness, On fluttered folk and wild- Your new-caught sullen peoples, Half-devil and half-child.”1 “Take up the White Man’s burden.” The first two words command citizens to save and civilize their imperial subjects –but to whom specifically are these imperative clauses directed? Due to Kipling’s background as an English poet, readers may easily mistake “the White Man’s burden” as an expression alluding to the expansion of the British Empire.
    [Show full text]
  • Balikbayanocrpdf.Pdf
    Feltrine1.J.i/rraveller BALIKBAYAN RACCONTI FILIPPINI CONTEM PORAN El a cura di Ubaldo Stecconi OSS I GENO © 1999, Feltrinelli 'Ihlveller S.r.l.- via Andegari 6-20121 Milano INTRODUZIONE Prima edizione maggio 1999 Ubaldo Stecconi ISBN 88-7108-307-5 Ossigeno è una collana Feltrinellifl'raveller Ossigeno: libri per respirare scelti da Stefano Benni Traduzione di Ubaldo Stecconi La storia Questa storia inizia un pomeriggio di febbraio del 1995, nel campus di Ateneo de Manila alla fine di una giornata di lezioni, quando il poeta Danny Reyes mi chiese se potevo consigliargli dei romanzi italiani. 11Potrei darti quelli che ho a casa, ma capisci l'italia­ no?" "Neanche una parola, infatti li voglio leggere in inglese." Cercando una risposta per il mio amico sco­ prii che gli autori italiani disponibili a Manila erano pochissimi. Riuscii a trovare Dante, Machiavelli, - An Lim. J., The Axolotl Colony, in Ricardo de Uogria (a cura di). Cat(ish Manzoni, e fra i contemporanei, Calvino, Primo Levi, Arriving in Little Schools. Anvii Publishing, 1996. Calasso e i romanzi di Eco. La cosa mi parve abba­ - Apostol, G., Fredo Avi!Jz, in Ricardo de Uogria (a cura di), Catfìsh Arri­ ving in Little Schools, Anvil Publishing, 1996. stanza strana. Perché erano cosi pochi? E perché - Dalisay, J.Y., Jr., Ki.ss me Goodbye, Oldtimers and Other Stories, Aspho­ proprio questi quattro in rappresentanza dei moder­ del, l984. tutti i - Dalisay, J.Y., Jr., The Body, Sarcophagus and Other Stories U.P. Press ni? Guardai meglio e vidi che titoli che avevo 1992. trovato erano stati tradotti altrove e successivamente - Dayrit, J.T, Scoring, The Walk, O.R.P.
    [Show full text]
  • Papal Visit Philippines 2014 and 2015 2014
    This event is dedicated to the Filipino People on the occasion of the five- day pastoral and state visit of Pope Francis here in the Philippines on October 23 to 27, 2014 part of 22- day Asian and Oceanian tour from October 22 to November 13, 2014. Papal Visit Philippines 2014 and 2015 ―Mercy and Compassion‖ a Papal Visit Philippines 2014 and 2015 2014 Contents About the project ............................................................................................... 2 About the Theme of the Apostolic Visit: ‗Mercy and Compassion‘.................................. 4 History of Jesus is Lord Church Worldwide.............................................................................. 6 Executive Branch of the Philippines ....................................................................... 15 Presidents of the Republic of the Philippines ....................................................................... 15 Vice Presidents of the Republic of the Philippines .............................................................. 16 Speaker of the House of Representatives of the Philippines ............................................ 16 Presidents of the Senate of the Philippines .......................................................................... 17 Chief Justice of the Supreme Court of the Philippines ...................................................... 17 Leaders of the Roman Catholic Church ................................................................ 18 Pope (Roman Catholic Bishop of Rome and Worldwide Leader of Roman
    [Show full text]
  • 2018 Spring Florida International University Commencement
    Florida International University FIU Digital Commons FIU Commencement Programs Special Collections and University Archives Spring 2018 2018 Spring Florida International University Commencement Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/commencement_programs Recommended Citation Florida International University, "2018 Spring Florida International University Commencement" (2018). FIU Commencement Programs. 7. https://digitalcommons.fiu.edu/commencement_programs/7 This work is brought to you for free and open access by the Special Collections and University Archives at FIU Digital Commons. It has been accepted for inclusion in FIU Commencement Programs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Florida International University Ocean Bank Convocation Center CommencementModesto A. Maidique Campus, Miami, Florida Saturday, April 28, 2018 Sunday, April 29, 2018 Monday, April 30, 2018 Tuesday, May 1, 2018 Wednesday, May 2, 2018 Table of Contents Order of Commencement Ceremonies ........................................................................................................3 An Academic Tradition ..............................................................................................................................20 University Governance and Administration ...............................................................................................21 The Honors College ...................................................................................................................................24
    [Show full text]