ISHMAEL BERNAL, Filmmaker, Was Hailed As “The Genius of Philippine Cinema"

Total Page:16

File Type:pdf, Size:1020Kb

ISHMAEL BERNAL, Filmmaker, Was Hailed As “The Genius of Philippine Cinema ISHMAEL BERNAL, filmmaker, was hailed as “the genius of Philippine cinema". As a director par excellence, he was also accorded the rare honor of being called a true maestro as he paved the way for succeeding directors and a new breed of film artists to perfect their craft. Twenty five years and 45 films after his first film Pagdating Sa Dulo (1971), he elucidated the Filipino life's complex profundities, confronting verities like death and love as exemplified in cinematic masterpieces, namely, Nunal sa Tubig (1976), City After Dark (1980), Himala (1981), Relasyon (1982) Broken Marriage (1983), Hinugot sa Langit (1986) and Wating (1994). A fastidious worker, Bernal rose above the commercial orientation of local filmmaking through the innovativeness of his daring experimentations. His films have multi-level yet clear-sighted messages, unmasking lucidly the figurative resonances of dramatic actions as possibilities to expound fresh insights even to trite plots and conflicts. While aware of his high level of artistry and distinct cinematic language, he broadened his directorial vision to explore the question of Filipino-ness by unfolding the layered psyche of the Filipinoin the movies that dealt mostly with urban realities and marginalized characters. In such themes, he expressed vivid visual statements to assert the inherent dignity of the human personality amid various forms of degradation and struggles for survival. An actor's director who was also known for his subdued yet precise technical perspective, Bernal extended his craft beyond aesthetic aims. He also maintained a manifest fortitude to fight the censors, free the artists, seek justice for the oppressed, and enlighten the audience. Pursuant to Proclamation No. 33, dated 20th of April 2001, and in recognition for his acclaimed filmography wode insightful realties on the Filipino psyche shaped new emblems of cinematic irony, and of his creative audacity to redefine directions on the conten and form of Philippine Cinema, ISHMAEL BERNAL is conferred this 11 June 2001 the award of NATIONAL ARTIST. Gloria Macapagal-Arroyo President Republic of the Philippines.
Recommended publications
  • 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]
  • 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]
  • Ps, Page 1-24 @ Normalize
    2. Not only teach them about the one true God, but Editorial teach them we should love God with all our whole being. “Thou shalt love the Lord thy God with all thine heart, and with all thy soul, and with all thy might” (Deuteron- FAMILIES omy 6:5). HE BIBLE teaches us that God is love and we 3. We should obey God’s commands. “These words, know He is, not only because the Bible tells us which I command thee this day, shall be in thine heart: TT so, but because He has shown His love to us in And thou shalt teach them diligently unto thy children, so many ways. There are things that God loves and and shalt talk of them when thou sittest in thine house, there are things that God hates! There are seven things and when thou walkest by the way, and when thou liest grouped together that God hates: “A proud look, a lying down, and when thou risest up” (Deuteronomy 6:6, 7). tongue, and hands that shed innocent blood, An heart 4. Something parents need to remember and also that deviseth wicked imaginations, feet that be swift teach their children, God must come first in our life: in running to mischief, A false witness that speaketh “He that loveth father or mother more than me is not lies, and he that soweth discord among brethren” worthy of me: and he that loveth son or daughter more (Proverbs 6:17-19). than me is not worthy of me” (Matthew 10:37).
    [Show full text]
  • Special Issue on Film Criticism
    semi-annual peer-reviewed international online journal VOL. 93 • NO. 1 • MAY 2020 of advanced research in literature, culture, and society UNITAS SPECIAL ISSUE ON FILM CRITICISM ISSN: 0041-7149 Indexed in the International Bibliography of the ISSN: 2619-7987 Modern Language Association of America About the Issue Cover From top to bottom: 1. Baconaua - One Big Fight Productions & Waning Crescent Arts (2017); 2. Respeto - Dogzilla, Arkeofilms, Cinemalaya, CMB Film Services, & This Side Up (2017); 3. Ebolusyon ng Isang Pamilyang Pilipino - Sine Olivia, Paul Tañedo Inc., & Ebolusyon Productions (2004); 4. Himala - Experimental Cinema of the Philippines (1982); and 5. That Thing Called Tadhana - Cinema One Originals, Epicmedia, Monoxide Works, & One Dash Zero Cinetools (2014). 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. Although downloading and printing of the articles are allowed, users are urged to contact UNITAS if reproduction is intended for non-individual and non-commercial purposes. Reproduction of copies for fair use, i.e., for instruction in schools, colleges and universities, is allowed as long as only the exact number of copies needed for class use is reproduced.
    [Show full text]
  • GUEST of HONOR and SPEAKER the ROTARY CLUB of MANILA BOARD of DIRECTORS and Executive Officers 2017-2018
    1 Official Newsletter of Rotary Club of Manila 0 balita No. 3727, January 18, 2018 GUEST OF HONOR AND SPEAKER THE ROTARY CLUB OF MANILA BOARD OF DIRECTORS and Executive Officers 2017-2018 JIMMIE POLICARPIO President TEDDY OCAMPO Immediate Past President CHITO ZALDARRIAGA Vice President BOBBY JOSEPH ISSAM ELDEBS LANCE MASTERS CALOY REYES SUSING PINEDA ART LOPEZ Directors ALVIN LACAMBACAL Secretary NICKY VILLASEÑOR Treasurer DAVE REYNOLDS What’s Inside Sergeant-At-Arms Program 2 AMADING VALDEZ Presidential Timeline 3-4 Guest of Honor and Speaker’s Profile 5-7 Board Legal Adviser Preview of Forthcoming Guest Speakers 8 The Week that Was 9-14 RENE POLICARPIO International Relations 15 Sunshine Visit 16 Assistant Secretary Centennial News 17 International Assembly 17-26 Rotary International News 27-28 NER LONZAGA One Rotary One Philippines One for Marawi 29-31 JIM CHUA In Memoriam ` 32 Assistant Treasurer Centennial News 33 Viber Group Use Guideline 34-35 Speakers Bureau 36 BOLLIE BOLTON News Release 37-38 Deputy Sgt-at-Arms Public Health Nutrition and Child Care 39 Advertisement 40-43 Secretariat ANNA KUN TOLEDO Executive Secretary 2 PROGRAM RCM’S 26th for Rotary Year 2017-2018 January 18, 2018, Thursday, 12Noon, New World Makati Hotel Ballroom Officer-In-Charge/ Program Moderator : AS Rene Policarpio P R O G R A M TIMETABLE 11:30 AM Registration & Cocktails (WINES courtesy of RCM DE/Dir. Bobby Joseph) 12:25 PM Bell to be Rung: Members and Guests are requested to be seated by OIC/Moderator : AS Rene Policarpio 12:30 PM Call to Order Pres. Jimmie Policarpio Singing of the Republic of the Philippines National Anthem RCM WF Music Chorale Invocation Rtn.
    [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]
  • 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.
    [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]
  • He Oldest Award Giving Body in the Philippines Was the Filipino Academy of Movie Arts and Sciences Simply Called FAMAS
    Figure 1: Best Actress from FAMAS, Gawad Urian, Film Academy of the Philippines, and CMMA he oldest award giving body in the Philippines was the Filipino Academy of Movie Arts and Sciences simply called FAMAS. It was launch two years after the Maria Clara awards folded in 1951. FAMAS shared the same name with the American film academy; AMPAS until the later complained and the Filipino organization have to change theirs into the current acronym. FAMAS created a history of controversies throughout their more than sixty years in award-giving business mostly due to their questionable selection of winners. In 2006, FAMAS experienced another setback when two groups divided the organization due to a controversial election of its officers. As the legal battle settled, the battling groups decided to just hand out their own awards, one used the name FAMAS and the other the Maria Clara Awards. Like its infancy, the Maria Clara Awards did not reach its maturity and died the second time. This is not the first time FAMAS experience disgruntled “break-away” members forming their own award. Prior to 1976, FAMAS retained their status as the most prestigious recognition a Filipino actor could have. Charito Solis, who won best actress at the Asian Film Festival in 1967 used to proudly bring her FAMAS trophies on the film set to intimidate starlets and to instigate professionalism. The breakaway group of critics wish to distinguish themselves from FAMAS by successfully branded their award as not for actors who overtly act in films, they catered to the ones who are restrained and controlled.
    [Show full text]