University of the Philippines Manila
College of Arts and Sciences
Passion to Prestige: Contemporary Indie Films as Catalyst for Socio-Political Consciousness
A Full Seminar Paper Presented to
Dr. Jinky del Prado-Lu
Adviser
In Partial Fulfillment of the Requirements for the
Degree Bachelor of Arts in Political Science
Apple Barbero
BA Political Science
201051161
UNIVERSITY OF THE PHILIPPINES MANILA
COLLEGE OF ARTS AND SCIENCES
APPROVAL SHEET
This, Full Seminar Paper, PASSION TO PRESTIGE: CONTEMPORARY INDIE FILMS AS CATALYST FOR SOCIO-POLITICAL CONSCIOUSNESS, written by Apple Barbero, is presented to the Department of Social Sciences, College of Arts and Sciences, University of the Philippines Manila. This Seminar Paper has been examined and is recommended for acceptance in partial fulfillment of the requirements for the Degree Bachelor of Arts in Political Science.
Dr. Jinky Leilanie del Prado-Lu
Adviser
Professor Sharon A. Caringal, MA
Chair, Department of Social Sciences
College of Arts and Sciences, UP Manila
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ACKNOWLEDGEMENT
To start with, the impetus for this study came from the various indie films I have seen thus far. The art and politics combined in an indie film make it very avant-garde yet brilliantly crafted. I salute every professional and budding indie film makers who admirably create mind-provoking films remaining true to its core principles. I do hope you carry on the unreserved tradtion of the craft.
I wouldn’t have able to fulfill and manage to get through with this study if it were not for the great help of the people from the film academe who contributed a lot to substantiate the research; I owe you much, big time!
To UP Diliman College of Mass Communication Dean Roland Tolentino, who gave his expert insights in an in-depth 15-minute interview despite his busy schedule; to UP Film Institute Professor Nick de Ocampo, who is an epitome of an indie film maker and scholar honed by passion and is genuine to the principles of indie film making; and to UP Manila Department of Arts and Communication Professor Rose Roque, who made me think of the complex discourse an indie film has, I am grateful to you Profs, my highest respect!
To UP Manila Philippine Arts students and UP Diliman Film students, who willingly responded to the survey I conducted, thanks guys!
To Dr. Jinky Leilanie del Prado-Lu, our Seminar Paper Class Adviser, who challenged us to our limits. I would always be superbly thankful to you Dr. Lu for sharing your research expertise; for your constant reminder to put our best-est and hardest efforts and to commit ourselves in fulfilling this endeavor. Through you Dr.Lu, I appreciate and enjoy extensive research a lot, thank you po!
I would also like to thank my parents for their unwavering support in whatever good I’m into.
To my U.P. comrades- Faith, Ely, Ogie, Danielle, Sarrah, Cey, Jessa, Kamille, DJ, Michelle, Ange and to those who I have failed to mention because of sudden amnesia, you made my stay in U.P. just as superb!
I would like to thank God, who promulgates humanity rather than doctrines and rules, if at all, this God exists. I want to thank you for giving me the free will to think things in an all-encompassing perspective and act upon it.
I do humbly dedicate this to all of you! Thank you!
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Abstract
The researcher investigates the nuances within contemporary indie film making in the Philippines from its production up until screening. In the course of the study, the researcher aims to answer the main question whether contemporary indie film is an effective medium in establishing socio- political awareness as well as rendering action for solutions among its audience regarding the pertinent and critical social issues it raise.
Using Gramsci’s Theory of Hegemony and Baudry’s Apparatus Theory as the theoretical framework as well as Blumer’s Symbolic Interactionism as the methodological framework, this study intends to understand how indie films, influence and facilitates, if at all, the consciousness of its audience and trigger them to be engage on possible resolutions of pressing issues the film presents.
In the pursuit of giving corresponding answer and justifications on the main research question, the researcher gathered qualitative and quantitative data through related literature, key expert interviews with UP Diliman College of Mass Communication Dean Roland Tolentino, UP Film Institute Professor Nick de Ocampo and UP Manila Arts and Communication Professor Rose Roque; and survey among UP Diliman and UP Manila students.
The major findings of the study are as follows, contemporary indie film deviates from the not- for-profit and advocacy principles of indie film making through the huge mismatch on the audience reach and screening venue which circulates among intellectual crowd and “paying” audience; the lack of engagement of audience in possible solutions of issues concerned; and the danger of sensationalism on the part of film makers creating social-realist films for it is a trend in film making.
The gathered data were analyzed and validated through triangulation of data from literature, expert interviews and survey.
However, the researcher has not incorporated the insights of contemporary indie film practitioners due to availability and convenience in schedule and it is deemed as the limitation of this study.
Key Words: Contemporary Independent Films, socio-political consciousness, social-realist films, audience engagement, counter-hegemon, senasationalism, audience mismatch, screening mismatch
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TABLE OF CONTENTS
Approval Sheet------2
Acknowledgement------3
Abstract------4
Table of Contents------5
Introduction------6-7
Rationale------7
Research Questions and Research Objectives------7-8
Review of Related Literature------9-10
Situationer------11
Theoretical, Conceptual and Methodological Framework------11-14
Indicators------15
Scope and Limitations------16
Ethical Considerations------16
Methodology------16-19
Data Presentation------19-24
Data Analysis------24-29
Conclusion and Recommendations------30-31
Appendices------31-51
Bibliography------53
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I. Introduction
Philippine Independent Cinema or Film was born during 1950s (de Ocampo 2013). According to de Ocampo (2013), independent films along with mainstream films were renowned and acknowledge as very much part of the Philippine Film Industry in 1950s-1960s. It continued its tradition up until the Martial Law period towards the end of 1980s. When Marcos ordered media studios and companies to shutdown, there were film makers who went underground. They still produce films using 35mm celluloid at that time. It contained radical positions and critiques against Marcos administration such as human rights violations, freedom of the press suppression, Indigenous Peoples concern with regard to their ancestral lands and the like and they screen it in communities. There were established underground political film groups during 1980s (post Martial Law years) like Kodao, Tudla, Southern Tagalog Exposure and Mayday which directly exposed critical issues against the government which up until now is still operating and very much active in doing advocacy films (Roque 2013). At the advent of 1990s, digital cinema came in South East Asian countries particularly in the Philippines (Tolentino 2000s). Consequently, the resounding buzz created by “prestigious” Foreign Film Festivals/Conventions and/or Competitions (i.e. in Cannes, Berlin, Toronto, Busan etc) and even local film fests (such as Cinemalaya) in the field of Independent film making, revive the impetus for film production of professional and budding indie film makers in the Philippines thus, the rise of contemporary indie films. This created hype in film making which induced film makers to produce and compete their films.
Independent film as articulated by film scholars, is an alternative medium to mainstream film deemed to convey pertinent and critical social issues confronted by the marginalized sectors within our society instead of depicting conventional film formulas such as drama, slapstick, violence, romance etcetera.
These are digital, low-cost, social-realist, for-advocacy and independently produced films outside the mainstream media conglomerate such as Star Cinema, Regal Films, Viva Films or GMA films etcetera (Gutierrez 2012). Independent films challenge the grand narratives of known mainstream films depicting social realities through a verisimilitude illustration. It offers far different perspectives on social, economic, political, psychological day to day living of a typical individual in society as compared to the 6| P a g e
mainstream films which portray realities in a homogenous pattern and formulas (i.e. Drama, Comedy, Violence etc). Independent films are deemed to create impact through disturbing the consciousness of its audience and challenge them to engage themselves in possible solutions of issues concerned (Roque 2013).
. II. Rationale
The researcher wanted to study and investigate whether contemporary independent films effectively establish socio-political consciousness and render action for possible solutions among its audience regarding the pertinent and critical social issues.
The researcher finds it worth studying because it is interesting to know and understand how indie films, if at all, provide another venue to further actions toward the issues it raise confronted by the marginalized sectors of our society. Moreover, the research through this study wanted to contribute to the existing literature in the field of independent film.
Research Questions
General: Is contemporary indie film an effective medium in establishing socio-political awareness and rendering action among its audience for possible solutions to pertinent and critical social issues it raise?
Specifics:
Who is the target audience of independent films? How much socio-political awareness is imparted, if at all, by contemporary independent film among its audience?
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How and in what particular ways independent film renders or translates action, if at all, among its audience for possible solutions to the pertinent and critical social issues it raise? How effective are independent films in capturing pertinent and critical issues in the Philippines? Do indie film makers assert their position and offer resolutions with regard to the pertinent and critical social issues they raise in their films? How do International Film Conventions reinforce the independent film industry in the Philippines?
III. Research Objectives
General:
To discern whether independent film is an effective medium in establishing socio-political awareness and rendering action among its audience for possible solutions to pertinent and critical social issues it raise.
Specifics:
To know the target audience of the Independent Films. To know the extent of socio-political awareness, if at all, brought about by contemporary indie films. To determine how and in what particular ways independent film renders or translates action, if at all, among its audience for possible solutions to pertinent and critical social issues it raise. To determine how effective indie films in capturing pertinent and critical social issues depicted in it. To understand and comprehend the position of film makers in pressing issues within the society as depicted through their films. To figure out if Independent film makers offer resolutions to pressing issues they depict on their films. To ascertain how do International Film Conventions reinforce the independent film industry in the Philippines.
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IV. Review of Related Literature
The researcher have found literatures which inquire to the different aspects of contemporary independent films and which can also be a guiding tool that will help answer the general question of this research whether contemporary indie film an effective medium in establishing socio-political consciousness and rendering action among its audience regarding the social issues it raise.
“Independent” in Independent Film as a marketing label In From Kidlat Tahimik to Kimmy Dora: Shifting Perceptions of Independence and Continuing Tradition of Resistance by Renei Dimla and Exploring Notions of Independence in Digital Cinema in the Philippines by Eloisa Hernandez, the authors ascertain that independent films work outside the mainstream film industry. It is a tool of resistance against the mainstream film companies that dominate the production, distribution, and exhibition in Philippine cinema. In this case, the term "independent" have become a marketing label. The authors have asserted that independent films manage to continue the tradition of resistance to mainstream/hegemonic film influence.
Another three articles entitled Challenging Grand Narratives on the Nation: ASEAN Independent Film Makers ' Indirect Participation in Development Discourse by Veronica Isla ; An In-depth Study on the Film Industry in the Philippines (2001) by Leonardo Garcia and Carmelita Masigan and Digitization: An opportunity for the film producer? (2009) by Tara Westwater, focus on the economic side of independent films, from production, distribution, marketing up until exhibition.
Independent film as counter-hegemon against mainstream film This is also embodied in a multi-media lecture delivered by Eric de Guia also known as Kidlat Tahimik during the Gawad Plaridel 2009 in University of the Philippines Diliman which was published in Plaridel's Philippine Journal of Contemporary Media and Society (2011).
According to de Guia, independent films distinguished from mainstream films would mean that they depict a verisimilitude social reality issues for a cause to disturbed minds of its audience and challenge the status quo (mainstream films and the government.)
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Independent Film espousing social realism However, in Filipino Indie by Way of Southeast Asian Independent Cinema (2011) by Jose C. Gutierrez III, South East Asian Independent Cinema (2012) and Imagined communities, Imagined worlds: Independent film from South East Asia in the Global Mediascape Situationer (2011) both by Tilman Baumgärtel, investigate on the social realities espoused through the films. It discuss about the new development that is a genuine outcome of the democratization and liberalization of film production brought about by digital technologies.
It tackles the edge of the independent film makers on giving a space for depicting a wide array of social realities in a liberalize and democratize way. Hence, it gives avenue for independent film makers to transform the conventional narrative story in films to a new paradigm to invite viewers see perspectives far from the usual.
Independent Film screening While Rolando Tolentino, Dean of the College of Communication in UP Diliman in his Contemporary Philippine Cinema (1991-2011) asserted the way as an alternative contemporary Philippine cinema, independent films should develop effectively and efficiently in representing social realities through targeting an community-based rather a market-based audience to sustain an effective reception mechanism and not just to gain profit, in order to survive the quality production principle of independent film making.
These related literatures would help the researcher, perhaps to strengthen and support claims in interviews and survey as well in answering the main question of this study.
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V. Situationer
At the advent of prestigious foreign indie film conventions/competitions such as Cannes, Berlin, Busan, Toronto and local indie film convention/competition such as Cinemalaya, consequently Philippine indie film production flourished. Indie film makers have been accused in sensationalizing social issues because it seems that they only create films to join the bandwagon to win recognition and also to gain profit for social realist films has become a trend. It is the “in thing” for those who practice film making. While critiques have argued that these film makers thwart the very principles of indie film making that (1) it is not for profit; (2) it should further advocacies and engagement among its audience with regard to pertinent social issues (de Ocampo 2013); and (3) it should establish a community-based audience as a return for the film narrative came from them (Tolentino 2013).
VI.Theoretical, Conceptual and Methodological Framework
Theoretical Framework
The researcher will use the Gramsci’s Theory of Hegemony as a macro theory and Baudry’s Apparatus Theory as a meso theory in this research study. The researcher used Gramsci’s Theory of Hegemony and Baudry’s Apparatus theory as the theoretical framework which can strengthen the claim about the idea whether independent film effectively establish socio-political awareness and render action or engagement amomg its audience for the possible solution-making process to issues concerned by the film.
In this study, an indie film is seen as a counter hegemon against a culture of mainstream films (i.e. through narrative, formula etc), a hegemon in the field of Philippine cinema. It is deemed to post challenge to the government seeking its transparency, accountability and action towards the socially relevant issues it illutrates. This is an ideal notion in independent or alternative films.
According to Gramsci quoted by T.J. Jackson Lears, Hegemony is,
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“the spontaneous consent given by the great masses of the population to the general direction imposed on social life by the dominant fundamental group; this consent is historically caused by the prestige (and consequent confidence) which the dominant group enjoys because of its position and function in the world of production.” (Lears 1985)
In this case, the academe and middle class-based audience of independent films give their “indirect” consent to the direction imposed by the government. This happens because independent films are instrument of the government which this audience consumes. The Philippine government funds independent films through the Cultural Center of the Philippines (CCP) and Film Development Council of Philippines (FDCP). In this case, contemporary independent films withdraw the very principles of independent films being an alternative medium creating a counter hegemon in itself. It is already co- opted with vested interests by stakeholders, the government for one, which lead to censorships tendencies of media regulatory body such as Movie and Television Review Board (MTRCB).
Considering the concept of hegemony it is indeed important to clarify who holds the power to be a hegemon. Gramsci as quoted by Lears (1985) defined it as the power possessed by a hegemon encompasses cultural, economic and political power (Lears 1985). In this case indie films hold indirect power through the control of government.
Indie films no longer hold to be a counter hegemon. The production, practice and purpose of Indie films shift from a counter hegemonic culture forming its own hegemonic culture, the fact that the “independent” in independent film becomes a marketing label. The machination of most indie film is deemed ideological for it perpetuates the marginalization of the issues confronted by the marginalized sectors of our society through sensationalism (Baudry and Williams 1975). Most indie film makers film socially relevant concerns because it has become the trend in film making today and because of this they oversee the sensitiveness of issues they raise, thus, they do not succeed to grasp the context in which the issues surface or even understanding the core where the issues emanate.
With regard to the consciousness brought by Indie Films, Lears (1985) argues that there are conflicts that arise in the consciousness of individuals and the actions they perform (Lears, 1985). In terms of visual consumption of indie films, their consciousness is being provoked but there is this 12| P a g e
“contradictory state of consciousness” creates a condition of moral and political passivity (Ibid). Hence, individuals who get to watch indie films hesitate to generate an action not only because of the contradictions in their consciousness but also due to the varying and ambiguous perception of individuals (Ibid).
Departing from the base-superstructure of Marxism, Gramsci as quoted by Lears (1985) stated that this assumption is lacking, for the “The base does not determine specific forms of consciousness, but it does determine what forms of consciousness are possible”. (Lears, 1985)
Contemporary Independent Films create a culture of influence in determining the possible form and shaping of consciousness in positioning the film, which according to Baudry and Williams (1975) is the spectacle and the audience being the spectator, who absorbs, refutes, disregard, or challenge the issues presented before them through the meaning they attached to it and from this generate reactions and/or reflections and have it concretized.
And this contention of Baudry and Gramsci holds true for the consciousness of individuals watching indie films who may not necessarily be moved by the arguments through advocacies presented in the films.
Furthermore, according to Gramsci quoted by Lears (1985), “Less powerful people may be thoroughly disaffected. At times they may openly revolt through strikes and perhaps the creation of counter hegemony. But normally most people find it difficult if not impossible, to translate the outlook implicit in their experience into a conception of the world that will directly challenge the hegemonic culture.“ (Lears, 1985)
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Conceptual Framework
The depiction of pertinent and critical social issues through independent films would inevitably build on the audience perceived and experienced realities giving a space for their consciousness or awareness to their possible engagement in possible solutions of issues concerned in the film.
Methodological Framework
Herbert Blumer’s Symbolic Interactionism
Humans act towards something on the basis of meaning that a phenomenon has for them. Meaning arises out of social interaction. These meanings are handled in and modified through interpretative process used by the person in dealing with the thing he encounters which eventually generates reaction.
In this study, the audience acts (i.e. further advocacy, engage in protests etc) on the basis of the meaning they attached on their perceived and conceived reality or phenomenon (any societal issues) depicted in the film. Meaning is generated out of the process of interpretation and exchange of reactions after the audience watch indie films.
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VIII. Conceptualization and Operationalization
Contemporary independent film. In this research paper it is defined as films produced by a film outfit or an organization outside the mainstream (Gutierrez 2012). In the context of contemporary Philippine cinema, this means that any Filipino movie not made by any large media conglomerate such as Star Cinema, Regal Films, Viva Films or GMA films etcetera is an independent film (Ibid.) An indie film resists mainstream formulas, genres or even narrative structures (Ibid.) Contemporary indie films is shot digitally, not on celluloid. Its mission is to overboard the “trash” that commercial cinema has produced all throughout the course of Philippine cinema (Ibid.)
Pertinent and critical social issues. Any germane social issues (i.e. poverty, gender, labor, human/political/civil/economic/cultural rights etc) which need to be given attention to.
Audience. Middle class, intellectual or academe based audience who get to watch these indie films.
Consciousness. The awareness formed or knowledge gained through watching indie films.
Action or engagement of Audience. The manifestation of how indie films trigger its audience to be involved in possible solutions of issues concerned.
Contemporary independent film maker. It is defined in this research paper as film makers who, according to Veronica Isla in her Challenging Grand Narratives on the Nation: ASEAN Independent Film Makers ' Indirect Participation in Development Discourse,
"articulates position on specific socio-political realities that they have experienced or observed, positions which contradict rather than reinforce state- driven discourses. Simply present an alternative view, subvert a dominant view, criticize a prevailing opinion, show the opposite of what those in power claim, highlight certain realities that are ignored in the public forum, etc. to create awareness, raise consciousness, provoke questions, and not necessarily to effect substantial changes in society through the use of digital technology." (Veronica Isla in Challenging Grand Narratives on the Nation: ASEAN Independent Film Makers ' Indirect Participation in Development Discourse)
IX.Indicators The researcher will use the following indicators or parameters to evaluate the effectiveness of independent films in establishing socio-political consciousness and
Target Audience Level of socio-political awareness of audience Screening venue Engagement of or action from audience
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X. Scope and Limitation This research paper will surface on whether Contemporary Philippine Independent Films are effective in establishing political awareness and rendering actions among its audience as well as knowing the nuances within indie films from its production to consciousness it imparts to its audience. The researcher used Key Expert Interviewing to the members of the academe and non-probability purposive sampling in survey as data collection tools. However, the researcher has not incorporated the opinion of contemporary indie film practitioners in this study due to their schedule of availability for the interview. XI. Ethical Considerations This research undergone a Research Ethics Clearance conducted by Research Ethics Board of UP Manila. This research has been qualified for Undergarduate Expedited Review and has assigned a study protocol code. Whereas the researcher seeks the free, prior and informed consent from the survey respondents which ensured that records identifying the participant will be kept confidential and will not be made publicly available, to the extent permitted by law; and that the identity of the participant will remain confidential in the event the study results are published. Moreover, there are no vulnerable groups i.e. Indigenous Peoples, children etcetera included in the study.
XII. Methodology The researcher utilizes Key Informant Interviewing (KII) or Key Expert Interviewing and survey as primary data collection tools and related literatures as secondary data collection tool. The researcher did three key expert interviews with with UP Diliman College of Mass Communication Dean Roland Tolentino, UP Film Institute Professor Nick de Ocampo and UP Manila Arts and Communication Professor Rose Roque. Also, the researcher has conducted a survey using non-probability purposive sampling (as the sampling design) on undergraduate UP Manila Philippine Arts majors and UP Diliman students enrolled in Film courses.
Unit of Analysis Philippine Arts (UP Manila) Target Number: 41 students enrolled in Film courses (UP Film Institute, UP Diliman) Target Number: 40
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Members of the Academe in UPFI, CMC, UP Diliman and DAC, CAS, UP Manila Target Number: 3
The researcher uses a non-probability purposive sampling design which seeks a targeted population to obtain a sample that appears to be a representative of that population. The researcher used the Lynch Formula to compute for the sample size of UP Manila Philippine Arts students and UP Diliman students’ (enrolled in undergraduate film courses) total population. With an 85 total population of students in the Philippine Arts program of UP Manila and 757 population of UP Diliman students enrolled in undergraduate film courses, a reliability level of (z) 90% or two-tailed alpha (1.645), .5 as proportion of a good sample and a sampling error of .1 or 10%, the researcher has obtained a sample size of 41 students in the total population of UP Manila Philippine Arts students and 40 UP Diliman students enrolled in undergraduate film courses to respond to the survey.
Since the total population of UP Diliman students is too large, the researcher used the formula, N=n/(1+n/N) to decrease the population size to 181, thus getting a sample size of 49 but in so far as limitations are concerned, the researcher has only included 40 out of 49 surveyed respondents. The researcher has excluded those nine who have taken the survey because they are masters degree or graduate school film students enrolled in an undergraduate film courses for needed units.
Sample Size Calculation n= NZ2 p (1-p) Nd2 + Z2 . p ( 1-p ) Total population of Phil Arts students= 85* N= population size (85) Z= reliability level (1.645) p= proportion of getting a good sample (.5) d= sampling error (.1) n= 85 (1.645)2 (.5) (1-.5) 85 (.1)2 + (1.645)2 (.5) (1-.5) n= 41 ------*Data obtained from the Office of the College Secretary, CAS, UP Manila
Sample Size Calculation n= NZ2 p (1-p) Nd2 + Z2 . p ( 1-p ) Total population of students enrolled in Film courses= 757* N= population size (757) Z= reliability level (1.645) p= proportion of getting a good sample (.5) d= sampling error (.1) n= 757 (1.645)2 (.5) (1-.5) 757(.1)2 + (1.645)2 (.5) (1-.5) n= 238 17| P a g e
------*Data obtained from the Office of the College Secretary, CMC, UP Diliman
Formula used to decrease the population size of film students:
N= n/ (1+ (n/N))
N=238/ (1+(238/757))
N=181
Sample Size Calculation n= NZ2 p (1-p) Nd2 + Z2 . p ( 1-p ) Total population of students enrolled in Film courses= 181* N= population size (181) Z= reliability level (1.645) p= proportion of getting a good sample (.5) d= sampling error (.1) n= 181 (1.645)2 (.5) (1-.5) 181 (.1)2 + (1.645)2 (.5) (1-.5) n= 49 ______*decreased population size of students enrolled in film courses
Sampling Frame 41 UP Manila Phil Arts students 40 UP Diliman students enrolled in Film courses 3 members of the Academe from UP Film Institute, CMC, UP Diliman and DAC, CAS, UP Manila
Table of Research Objectives and/or Required Data and Tools for Data gathering
Objectives and/or Required Data Data Collection Tool / Source of Data Discernment whether independent film is an Key Expert Interview and Survey effective medium in establishing socio-political awareness and rendering action among its audience for possible solutions of issues concerned
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Determination of how and in what particular ways Key Expert Interview independent film renders or translates action, if at all, among its audience for possible solutions to pertinent and critical social issues it raise. Determination of Target Audience of Indie Films Key Expert Interview Apprehension of indie film makers’ position and Key Expert Interview offered resolutions in pressing issues within the society as depicted through their films. Determination if indie films reach out for Key Expert Interview communities as a form of giving back to where the narrative of the films came from Ascertain if International Film Competition reinforce Key Expert Interview and Related Philippine Indie Films Literature Verification of effectiveness of indie films in Survey and Related Literature capturing social issues Ascertain the extent of socio-political awareness, if Survey at all, brought about by contemporary indie films.
XIII.Data Presentation
Summary of Key Expert Interviews with UP Diliman College of Mass Communication Dean Roland Tolentino, UP Film Institute Professor Nick de Ocampo and UP Manila Arts and Communication Professor Rosemary Roque
MAIN IDEAS FROM KEY EXPERT INTERVIEWS CATEGORIES PROFESSOR NICK DE PROFESSOR ROSE DEAN ROLAND OCAMPO ROQUE TOLENTINO Effectiveness of indie films in They are aware but they Yes, it confronts a “Oo naman, you’re establishing political lack engagement. particular issue and it talkng to 20% consciousness and rendering challenged the middle class of the action among its audience population.” audience to be upon the social issues it raise / Particular ways indie films engaged in the translate action or advocacy it presents. engagement from audience
Position and resolutions Independent films leave Depiction of No commitment on offered by indie film makers the issue open-endedly resolutions should the part of indie on issues they raise to its audience. also be included in film makers to the goal of offer resolutions
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Independent film independent film and assert their makers do not hold making so as not to position in their firmly in their position always live the issues film. towards their open-ended for the advocacies in their films. audience. They need to have at least grasp the ideas on particular ways to solve the problem or issues raised.
Target audience of Academe-based Middle class or Academe and independent films paying audience middle class based audience Commitment to reach Independent films in Reach out to non- No commitment on community-based audience/ order to create impact paying audience. the part of the communities as subject not should effectively indie film makers an audience change the point of view to screen their (i.e. through films in conscientiousness, communities politicization) of where the audience and should be narrative of the an impetus to generate film came from. an action towards social issues. Foreign and Local Indie film The practice of Indie film makers The primary festivals’ reinforcement independent filming is engage themselves in impetus for making not primarily to further film conventions or films is not to advocacy but rather competitions educate or instill indie film makers are primarily to gain awareness among trying to fulfill personal recognition. audience but they interests like gaining are peddled by recognition in premier Indie film makers self-interested international film should not forget to tendencies such as conventions. strengthen and recognition that expand its local- they could get from based audience engaging their before reaching out selves in film to international conventions and audience. competitions.
Summary of Survey results on Philippine Arts Students and Film Students Table1: Background Information of and Subscription to Indie Films n=81 CATEGORIES FREQUENCY PERCENT SCHOOL 15 18.52
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SOCIAL MEDIA / INTERNET 17 21 PEERS 1 1.23 PEERS AND INTERNET 2 2.47 OTHERS (FAMILY) 1 1.23 SCHOOL AND PEERS 7 8.64 SCHOOL AND INTERNET 11 13.58 INTERNET AND OTHERS 1 1.23 ALL 26 32.1 TOTAL 81 100
About 60-70% of the respondents answered that they get to know indie films through school where intellectual crowd interacts and sometimes are screening venues of indie films. Also through social media which is used to disseminate information regarding screenings of indie films.
CATEGORIES FREQUENCY PERCENT SCHOOL REQUIREMENT 26 32.1 PERSONAL INTEREST 23 28.4 BOTH 32 39.51 TOTAL 81 100.01
32% of the respondents have answered that they subscribe to indie films for academic purposes while 28% have answered they subscribe because of personal interest and the rest 40% answered both school requirement and personal interest lead them to subscribe in indie films.
Table 2: Indie films’ establishment of socio-political awareness and its extent n=81
FREQUENCY PERCENT Establish socio YES 81 100
political NO - -
awareness TOTAL 81 100 Knowledge VERY MUCH 32 37.5 brought by Indie MUCH 39 47.5 Films MODERATE 8 12.5 UNCERTAIN 2 2.5
TOTAL 81 100
100% of the respondents affirmed that they become aware of issues indie films present before them. 97% of them have confirmed that they gain knowledge from indie films though in varying degrees (very much to moderate).
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Table 3: Appeal, Factual Portrayal and Effectiveness of Indie Films compared to mainstream films
n=81
Frequency Percent Appeal of Indie Films EXTREMELY LIBERAL 18 22.22 LIBERAL 57 70.37 SLIGHTLY LIBERAL 5 6.17 NOT AT ALL 1 1.23 TOTAL 81 99.99 Execute factual portrayal YES 71 87.65 NO 10 12.35 TOTAL 81 100 Effectiveness in factual VERY EFFECTIVE 31 38.27 portrayal EFFECTIVE 40 49.38 SLIGHTLY EFFECTIVE 9 11.11 NOT AT ALL 1 1.23 TOTAL 81 99.99 Effective in social issues YES 70 86.42 depiction than mainstream NO 11 13.58 films TOTAL 81 100 (who answered yes) NON-CONFORMIST TO CONVENTIONAL FORMULAS 9 12.86 Reasons as to why indie NOT COMMERCIALIZED 9 12.86 films are far effective than EXHIBIT SOCIALLY RELEVANT ISSUES 33 47.14 mainstream films in LIBERAL 7 10 capturing social issues ALL OF THE ABOVE 7 10 NO REASON AT ALL 5 7.14 TOTAL 70 99.64
98% of the respondents perceived indie films as liberal or bold in depiction of socially relevant issues. With regard to effectiveness in factual portrayal of indie films, 87% of the respondents answered that indie films execute factual illustration of issues and 98% responded that it is effective in varying degrees (very much effective to slightly effective).
Compared to mainstream films, indie films are far effective in capturing social issues to which 86% of the respondentsh have agreed upon. Those who affirmed that it is effective than mainstream films the following reasons were given with corresponding percent: 12.86% non-confromist to conventional formulas and not commercialized while 47.14% exhibits socially relevant issues.
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TABLE 4: Indie films the respondents have seen so far n=110
TITLE FREQUENCY Amigo 2 Ang Babae sa Septic Tank 11 Ang Nawawala 2 Ang Pagdadalaga ni Maximo Oliveros 1 Anino 1 Babagwa 3 Badil 1 Colossal 2 Diablo 1 Diplomat Hotel 1 Ekstra 10 Foster Child 1 Galigimgim 1 Harana 1 Hungkag 2 Islands 4 Kaleidoscope World 1 Kinatay 6 Kisapmata 1 Kubrador 5 Mayohan 1 Mga Alaala ng Tag-ulan 1 Migrante 1 Nanay Nanny 1 Nasaan si Lolo Me 1 Oros 1 Paglaya sa Tanikala 3 Perfumed Nightmare 4 Pisay 1 Ploning 1 Porno 1 Pukpok 1 Purok 7 1 Quick Change 3 Sana Dati 6 Sayaw ng Dalawang Kaliwaang Paa 1 Shorts B 5 23| P a g e
The Guerilla is a Poet 4 The House Husband's Wife 2 Thy Womb 1 Transit 5 Tundong Magiliw 5 Wer Na U? 1 Zombadings 2
These are the list of independent films that the respondents have seen thus far. The researcher has validated if the given films of the respondents were all considered to be indie films. Ang Babae sa Septic Tank by Marlon Rivera and Ekstra by Jefferey Jeturian obtained the highest frequency distribution, 10 and 11 respectively. These are recently produced indie films.
XIV. Data Analysis
Content Analysis
The qualitative data yield from three key expert interviews was analyzed through content analysis. The researcher upon transcription compared, contrasted and comprehends the content of interviews and obtained main ideas from it to answer the main as well as the specific questions of this study.
Frequency Distribution tests
The quantitative data gathered from the two sets of survey was analysed as one using frequency distribution tests obtaining the mean and mode.
Validation through Triangulation
Tne researcher validates the quantitative and qualitative data through the use of triangulation of related literature, expert interviews and survey which supplemnts and complement each other to strengthen the analysis.
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TABLE OF ANALYTIC CONSTRUCTS FROM THE QUALITATIVE AND QUANTITATIVE DATA
Main Information Information Structural-level Analytic constructs Categories from the from the analysis (relationships and qualitative data quantitative (constitutive or trends) methodology interpretative analysis; organizing relationships among patterns into structures
Effectiveness in According to the 100% of the The audience The lack of socio-political interviewed key survey might be provoked engagement on the awareness and experts, the respondents part of the audience to confront the rendering action audience have affirmed can be attributed to among its became aware that they issues but they do the fact that most of audience upon through became aware not engaged indie film makers are the social issues confronting a and conscious not much into themselves it raise / particular issue of the social furthering advocacy Particular ways and it issues because according in films. Most indie indie films challenged the presented to Gramsci one’s film makers create translate or audience to be before them by social-realist films for consciousness can render action engaged indie films it is the trend in film for possible (though not that create its own making. Thus, they do 97% of the solutions of intensified) in “contradictory not hold firmly on issues the advocacy it respondents their position towards confirmed that state” which often concerned presents (de certain issues they try they gain Ocampo, Roque leads to a political to raise. They just and Tolentino knowledge passivity and leave the issues open- from indie 2013). therefore this endedly to its films, though in audience. varying degrees audience just leave (very much to the issues taken for moderate). granted.
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Target Audience Academe-based 70-80% Mismatch on Gradually, most indie and Screening or intellectual answered they audience reach and films become Venue get to know commercialized. It crowd and screening venue of indie films seems that there is no middle-class or through school most indie films commitment on the “paying” where containing socially part of the indie film intellectual makers to screen audience. relevant issues crowd interacts their films in and social because most communities where Market-based media which independent film the narrative of the venues or the middle film came from and it makers project commercial class consumes has been a huge their own position downside of indie cinemas (i.e. on certain issues cinema. Trinoma, Ayala, concerned in the Greenbelt film towards its cinemas) spectator/ instead of audience that does community – not experience or based (i.e. directly confronted barangays, with these issues. schools depending on the issues concerned) screening (Tolentino 2013).
Engagement of Audience lacks 32% of the The involvement of Indie films become a audience engagement on survey audience with indie commodity or only an respondents awareness tool to its solution-making films upon that they audience because of process of issues subscribe to subscription for its content which can
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concerned (de indie films academic purposes be used for academic Ocampo 2013). because it is a or personal purposes or for school intellectual pleasure. interests starts and requirement It’s merely subscribed ends there. They to feed the thirst of 28% of the no longer seek to audience for survey something unique respondents partake in the and mind-provoking. answered they possible solution- subscribe to making process for indie films because of the issues personal concerned interest
The rest 40% answered both personal interest and school requirement as to why they subscribe to indie films
In the pursuit of answering the main question of this study that is whether or not contemporary indie films effectively establish socio-political awareness and render action among its audience for possible solutions of issues concerned, the researcher have analyzed the gathered data on the basis of the following indicators: target audience, screening venue, level or extent of socio-political awareness and action from or engagement of audience for possible solutions to issues concerned.
Based on the responses of the three key experts interviewed by the researcher there is a huge mismatch or “disconnect” in the audience reach of most contemporary indie films (de Ocampo 2013). Indie film makers cater to the academe, intellectual, middle class or “paying” audience rather than an 27| P a g e
audience that is based in the communities (i.e. schools, barangays etc) where the narrative of the film came from (de Ocampo, Roque and Tolentino 2013). The survey data validated this for about 70-80% of the respondents answered that they get to know most indie films through school where intellectual crowd interacts and also through social media which the middle class audience consumes.
Why is there a mismatch? The receptiveness of the audience/spectator depends on how an indie film maker presents the issue to them (as the Apparatus Theory of Baudry posits.) An independent film maker projects his position on certain issues towards its spectator/ audience that does not experience or are not directly confronted with these issues. The fact that independent film makers have middle class sensibilities they incorporate their predisposition on issues so the discussion becomes restricted. Indie film makers do not dig into the core of issues, “kulang sa lalim”. They create social- realist films because it’s one of the trends in film making and they join the bandwagon of competing and screening their films because they know that they can gain profit/recognition from it (de Ocampo 2013). Thus, according to de Ocampo (2013), “(Nakikita ba nila)..ang contradiction of the mode of production and reception and dissemination that is about to happen?...This period (of indie film makers) cannot seem to see the contradiction of its own kind. Gumagawa sila ng mga pelikulang ito, para kanino at para saan?”
There is also a seeming disconnect in the screening of most contemporary indie films. Most indie films are screened in a market-based venue such as Trinoma, Greenbelt, Ayala and all other commercial cinemas instead screening it in communities, the fact that it talks about social and critical issues. Hence, indie films have become gradually commercialized far from its “not for profit” principle. According to Tolentino, “…wala namang pagtatangi na meron kang (indie film makers) commitment na mapalabas ito sa community na pinanggalingan ng kwento nito..yun yung drawback ng Indie Cinema(ng) ito na very destructive, yung klase ng story telling nila dahil walang return sa community maliban lang (sa) ilan..” (Tolentino 2013)
Moreover, Roque (2013) quoted Tolentino (2000s) for saying that, “Cinemalaya is market- oriented in itself.”
As de Ocampo furthered that, “di pa tapos ang business nitong Cinemalaya na magpalabas lang sa CCP, o nagplabas sila saan? Dito naman sa Greenbelt, dito sa may Trinoma, how sosyal? Sandali...and then you talk about social realism?” (de Ocampo 2013)
With regard to the socio-political consciousness, 100% of both set of respondents affirmed that they became aware of the issues imparted by indie films. Also, 97% of the respondents confirmed that they gain knowledge from indie films, though in varying degrees (very much to moderate). Since most of contemporary indie films audience has “middle class sensibilities/susceptibilities”, yes, they became aware and conscious of these social issues but then they do not act upon those issues primarily because those do not involved them. Hence, they might be provoked to confront the issues but according to Gramsci one’s consciousness can create its own “contradictory state” which often leads to a political passivity and therefore this audience just leave the issues taken for granted.
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In terms of engagement of audience on solution-making process for issues concerned in the film presented before them, the audience lacks in involvement. Based on the data from the survey conducted, 32% of the survey respondents that they subscribe to indie films because it is a school requirement, 28% of them answered they subscribe to indie films because of personal interest and the rest 40% answered both personal interest and school requirement.
What can be deduced from this? The involvement of audience with indie films upon subscription for academic purposes or personal interests starts and ends there. They no longer seek to partake in the possible solution-making process for the issues concerned.
Hence, indie films become a commodity or only an awareness tool to its audience because of its content which can be used for academic purposes or for intellectual pleasure. It’s merely subscribed to sate the thirst of audience for something unique and mind-provoking type of films.
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XI.Conclusion
In conclusion, contemporary indie film is an effective medium for establishing socio-political awareness or consciousness but fails to render action and engagement from its audience for possible solutions to the issues concerned because there is a mismatch in audience reach and screening venue of most indie films; and the lack of grasp or understanding of the context of issues on the part of indie film makers that can be attributed to fulfillment of personal and commercial interests than actualization of the very principles of indie film making which are (1) not for profit (2) it should further advocacies and engagement among its audience with regard to pertinent social issues (de Ocampo 2013); and (3) it should establish a community-based audience as a return for the film narrative came from them (Tolentino 2013).
Recommendations
In order to bring back the genuine independent film/cinema, independent film makers in the Philippines should (1)strengthen and expand its audience through its commitment to screen in the local communities. As Professor Roque stated, “Audience development talaga (screening) na libre o kung hindi man libre, minimal na presyo. Although issue..kung pagbabayarin mo ba sila (audience) o hindi…kung may absoluto bang libre…kasi totoo rin namang kailangan mo pa rin talaga ng panustos sa paggawa ng pelikula kaya may aspektong pinansyal ka talagang iko-consider at audience development na while niri-reach out mo yung ibang bansa..wag mo kakalimutan yung audience sa home country mo.. kasi dun nagiging tunay na impluwensya yung films bilang bahagi ng kultura.” Indie film makers should engage themselves in (2) understanding profoundly the context of the issues they try to raise, in this case immersion. Also, (3) premiere international film competitions abroad should not be the primary impetus for indie film makers, instead, independent cinema should continue pursue advocacies for reforms, offer/create resolution films (Roque 2013) and should take stand on issue seeking a response from the government as well as engaging people to take part in resolving the problems emanating from these issues, as these are the core priciples and legacy of genuine independent film making.
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“Contemporary indie films should serve as a catalyst. For a catalyst facilitates the reaction in the process of change and is deemed not to be consumed or co-opted.”*
Researcher 2014
______* Inspired in the Indie Film PISAY by Aureus Solitos APPENDICES APPENDIX A | SURVEY INFORMED CONSENT FORM ______
Free, Prior and Informed Consent Form
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In the pursuit of fulfilling this research on Contemporary Philippine Independent Films, the researcher will be conducting a 5-10 minutes survey with Film Students in UP Film Institute, UP Diliman. All information from this survey will serve as data only for the research. In line with this, the researcher will need pertinent information from the participant that concerns his/her identity i.e. name, age, year level and degree program. In relation to this, the researcher would like to ask the consent of the participant in voluntary engagement in this study provided that no personal information would be divulge.
The researcher will ensure that records identifying the participant will be kept confidential and will not be made publicly available, to the extent permitted by law; and that the identity of the participant will remain confidential in the event the study results are published.
The researcher also ensures that no vulnerable group i.e. children, IPs etc. will be included in this study.
Furthermore, the researcher guarantees the access of the participants to the result of the study.
The Researcher
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APPENDIX B | SURVEY QUESTIONNAIRE ______Name:______Year and Course:______School:______
1.Where do you learn about independent film?
___School ____Peers ____Social Media/Internet ____Others pls. Specify
2.Why do you subscribe to independent film/s?
___School Requirement ____ Personal Interest ____Others pls. Specify
3.How do independent films appeal to you?
___extremely liberal ____liberal ____slightly liberal ____ not at all
4.Do you think independent films help build socio-political awareness among viewers?
___Yes ___No
5.To what extent do independent films add to your knowledge about the society?
___very much ____much ____moderate ___uncertain
6.Do you think independent films portray the true situation of the marginalized/underprivileged sector of the society?
___ Yes ___No
7.Do you think independent film is more effective than mainstream films in illustrating issues within the society?
___Yes ___ No
Ifyes, why?______
8.How effective is independent films in capturing the image of social reality in the Philippines?
___very effective ____effective ____slightly effective ____not at all
9.Do you think independent films influence the government to act upon the grievances of the society as depicted in the film?
___Strongly Agree ___Agree ___Slightly Agree ___ Disagree ___Uncertain
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10.In what particular ways (i.e. advocacies in films, call to increase budget allotment for independent film industry etc.) do you think independent films influence the government? Why? ______
11.Give at least 2 Independent Films that have you seen so far ______
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Appendix C |Interview Guide Questions
______
. Do you think independent films help build socio-economic and political awareness among its viewers?
. Who is the target audience of independent films?
. Given that through independent films, crucial socio-economic and political issues are depicted, do you think that independent film is an effective avenue to communicate influence to the government in terms of how society/state should be run? To what extent or level (i.e. extreme, strong or moderately) do independent films influence the government?
. Do independent film makers assert their position on the way the state should be run through their films?
. Do independent film makers offer resolutions on how the state should be run which will cater the interests of the marginalized/underprivileged being the subject of storyline of the film?
. Do independent films able to reach the marginalized/underprivileged as a target audience to create an impact to them and in order for them to do something about their situation or they are mere subject for social reality illustration?
. Do independent films appeal to the audience to act or do something in behalf of the subject's situation being portrayed?
. In what ways do you think, whether directly or indirectly, do contemporary independent films influence the government?
. How does a media regulatory body such as Movie and Television Review and Classification Board (MTRCB) affects the conceptualization, filming and even marketing of independent films?
. Do independent film convention/festivals (local and international) reinforce this medium as an alternative influence to the government to act upon pressing issues in society?
. There have been issues that independent films exploit the distressed life of the Filipinos (being the subject of the film) through a “poverty porn” depiction dubbed as exotic films so as to earn international recognition in movie conventions abroad, do you think this affect the fact that independent film being an alternative medium illustrate issues in line with what is popularly subscribed by the audience?
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Appendix D | Transcription of the interview with Professor Nicolas “Nick” de Ocampo at UP Film Institute, UP Diliman dated, August 30, 2013. ______Student-interviewer: Do you think independent films help build socio-economic and political awareness among Filipinos?
Professor Nick de Ocampo: Ah lets separate the claim from the reality no? And by doing so let’s know exactly who makes the claim and who gets through be socially aware, alright? Perhaps one can give the credit to the film makers that they’re making socially aware films, alright? Ah in fact that has become almost likely the overwhelming, the dominant kind of expression in many of the films especially in the Cinemalya. Somehow we’re kind of happy about that but is it really connecting with the audience? Those who get to watch them, ah yes, ah I don’t know there have not really been a survey so it is hard to make similar claims. Textually however, you know if you watch the films, a lot of them do debate films that you know would really reveal some of the social realities in our society, alright. As I said you know if you are going to make a comparison, this can be understood better if you’re going to make a comparison with what used to be and even until now, you know, what still is, the dominant, let say, themes that one would see in the so called commercial mainstream cinemas, di ba? The escapist films, the comedy and all these, alright. Many of the films in Cinemalaya for example, this has been the hallmark of independent cinema, yung pagka-socially aware, no, maraming mga temang ganon, now however, if they really make an impact, ahh medyo may sense of lack pa tayo dito sa reception side. There has not really been an evaluation. You know what kind standards you are going to have, if you are going to evaluate exactly the impact of then reception nitong mga socially aware films, so maybe this question right now might lead us into say exactly knowing the very impact. In fact you said, you have created some kind of an instrument to evaluate? Maybe, just the awareness?
S: Opo.
P: Alright? That’s a good, you know, way to approach this problem so I should listen to you later on. You know, what kind of evaluation might possibly come out. Whether, one, what are the things you need to know through the instrument that you have. Ah in what way, maybe this audience are aware of the subject that are being discussed. Number two, how do you feel, you know, it has played an impact on them and I don’t know how you can translate it numerically through your statistics. Number three, how engage are they? In other words, that is awareness but they’re engagement, di ba? Kasi ang nakakatakot sa mga pelikulang ito, at dito na pumapaasok yung mga acccusation of poverty porn. Winawagayway natin ang lahat ng karukhaan..
S: sensationalize..
P: ..lahat ng kaputahan, lahat ng mga kabaklaan, lahat ng issues na ganyan mga bale, and then ang context sa panahon natin ngayon ay highly consumerist din. So, may napapanood nila, nakikita nila, oo nababasa nila ang pelikula, pero ano yung engagement nila? Baka ang kinakalabasan dito ay pinalitan lang nating ung melodrama, yung action films, yung comedy, yung horror, to another spectacle na nga bale, kaya ang sabi mo, baka may danger of sensationalism and hindi talaga nagiimpact sa audience, kasi yan ba ang gustong mangyari ng social realist films, yung ipakita lang and then ano?
S: Sir, yung next, kung may target audience man po yung independent films, anong particular audience po yun? At kung bakit kinakagat ng particular target audience na yon itong independent films? 36| P a g e
P: Nakikita mo talaga ngayon.. at tama ako twenty years ago, na sinabi ko talaga na, I don’t know how much research you have done in terms of independent cinema and how much I figure in that research that you have. But nung una pa, when I early first articulated what independent cinema is, what is its role in the society, panahon ng martial law yun, at ang sinabi ko na nga bale, na ang independent cinema, ay primarily should not and does not find its ahm, ah, place of production, for example in studios, hindi si Mother Lily gagawa ng independent film, sasakyan nya yan kung kumikita yan, e kaso di kumikita. Signal yan later on na pag nalaman natin si Mother Lliy at saka yung a Star Cinama ay gagawa ng indie film, alright. So, ang target talaga nyan primarily, at ang lunan nyan, saan natin mahahanap yan ay yung habitus nya talaga is sa academe. Of course, di na ginagawa ito ng akademya, di ba? Primarily, ginagawa ito ng isang elite na aristocrat na Cojuangco nga bale, pero ang nakikita natin ngayon, ang pinupuntirya nila ay ang estudyante, so ang target audience nya are the students. Who are actually required, di naman bukal sa puso nila na ang manood e, di naman bukal sa puso nila. May gentle coercion na nangyayari if not outright coercion, o required kayo, alright kaya may semblance of success.
S: Pumapangalawa na alang po yung personala interest nila?
P: Maaari, along the way, I mean kahit kaming mga independent film programmers e kailangan naming ang tulong talaga pero situated kami sa akademya, you see, alright. So ang point nga dito bale ay kanyang target audience talaga nakita natin ay estudyante. Ah na later on sila rin ay nakikita natin to create an appetite na gumawa rin ng mga indie films na ito.
S: Yung next, effective avenue po ba ang independent films to communicate influence to the government in terms of the actions that must done to solve the issues being portrayed in the films?
P: Oo kasi nakikita ko sa mga katanungan mo papuntang government e, di ba? Ah, alam mo hindi,. Hindi pa nagkaron ng in road ang indie films to the policy-makers, to the government people. Baka mamaya e, contradiction pa yun. Sa anong pamamaraan at ano bang gusto nating mangyari? Kung magkaroon ng in road ang indie films sa gobyerno dahil gusto pa ba natin humingi ng pera, gusto ba natin na gobyerno ang magpalakad nito hindi na yung isang elite na aristokrato na katulad ni Tony Boy Cojunangco. I mean it is really a, you know, long defined from the Lopezeses. Pero sabihin na nating na may ginuntuang puso siya para dito sa pelikula, kasi parang wala naman siyang hinihingi in return for all of this. So it’s kinda a weird situation but still problematic that I really no have time to unpacked this issue so, balik ka dun sa tanong mo nga bale na, tama ba na plataporma itong indie film para nga maparating sa gobyerno itong mga issue..hindi. Kasi ikukumpara mo dapat siya sa telebisyon dapat no. Ano ba ang mga katapat nyan. Kung itapat mo siya sa commercial films natin, wa epek pa rin, di naman nanonood ang mga senador, nagpapayaman sila, wala silang panahon manood ng indie films. Pero nanonood sila at natataranta sila sa telebisyon. E hindi naman pumapasok sa telebisyon ang indie films. So maraming disconnect. Hindi napag-iisipan ng indie, kung sino man ang nagpapalakad ng indie film na yan bale ng CCP, etc. E they just treat it as a cultural event. It is a cultural event that has almost no connection with the entire fabric of our society. It is merely a cultural thing, parang pista sa bayan, pista sa nayon, o pista sa lipa, pista sa ano it is other one of those cultural showcase na deformed. If it would lead after that e thank you.
S: Iniiwan pong open-ended?
P: At anong ibig sabihin ng open-ended?
S: Para sa mga viewers? 37| P a g e
P: Ako mismo, tinatanong ko ang CCP, kasi ako I’m very much into dissemination, from one island to the other on my own, o kagagaling ko lang ng Iloilo, I have thousands of students who watch films there? And may processing na nangyayari, and you bring them exactly, you know. I mean di pa tapos ang business nitong Cinemalaya na magpalabas lang sa CCP, o nagplabas sila saan? Dito naman sa Greenbelt, dito sa may Trinoma, how sosyal? Sandali, I mean, and then you talk about social realism that you said. Kanina lang, vinalidate ko, o sige socially realist ang films nila, sandali e pagkatapos ang venues mo? Ang laki ng mga disconnect na dapat pa i-sort out dito sa called indie cinema. Ibahin mo, ito na anpakaingay na nitong Cinemalaya pero ibahin mo ang Tudla, may mga indie, what I considered to be the true indies talaga. Kasi mga Marxist na southern tagalog exposure, yung Tudla, e talagang ito ay revolutionary films ang ginagawa nila, e saan nila dinadala sa mga magniniyog, sa mga magsasaka, okay, sa estudyante oo. Pero hindi nila dinadala sa..can’t they see the contradictions of what they’re doing, they can’t. And that’s the sad thing of being indie cinema, ah you know, let’s say, ah implemented or as ah actualize, as run by the so called.. e elite din, e sa totoo di naman nila malagpasan ang kanilang (pagka) elite, e saan ba nanggaling yung ganito, e di sa elite, nag-iisa lang yan sa mga bagay-bagay na they can consume.
S: For the record lang po, supported po ba ng government ang independent films?
P: Ang Cultural Center of the Philippines sa Philippine Government yan e, saan naggagaling ang pera nyan. It is funded and finance and sustained by the Philippine government as a premier cultural agency. O hindi lang yan, palawakin mo pa, ahm nandadyan ang Film Development Council of the Philippines, aba, di hamak na mas malaki magbigay ng pera pero ang masaklap dun ay mukhang yung mga kaibigan lang ang nabibigyan naman. Can you imagine? Namimigay lang si Cojuangco ng mga half a million together with CCP of course. Ito pa dagdag mo pa ang National Commission for Culture and the Arts nag-su-support din ng mga indie-indie films yan, binaba pa sa 200, 000 na lang, nung una half a million pa. Ang Film Development Council of the Philippines, aba di hamak na 1.5 Million ang pinamimigay pero halos itatanong mo ano ang selection process, e di yung mga kilala lang.
S: Kung ilalagay po sa Philippine Cinema picture ang Independent Film, nasaan po ito sa palagay po ninyo?
P: Sabihin na nga natin na primarily ito ay nasa yugto ng digital era. E samantalang di naman kasi nakitil na at namatay na talaga ang industriya ng pelikulang Pilipino, in fact mas malaki ang kita ngayon ng ABS- CBN at Star Cinema, ang pinakamalaking kumita sa buong kasaysayan ng Pelikulang Pilipino ay ang Private Benjamin, malapi-lapit na maging 1 Billion ang kita nyan. Pero sandal hindi patay ang industriya, nagging manipis lang. O ano ngayon, ibig sabihin, ito ngayon ang..hindi puwede masabi ng independent cinema na i-took over already ang mainstream industry it’s one of the trend, at this point..it becomes. Ito magandang sagot sa katanungan mo na yan, unti-unti ang indie cinema nagiging mainstream, alright.
S: Nagiging commercial?
P: Nagiging commercial so in the end, pwede bang tanggalin na lang natin ang maskara ng indie-indie cinema ng Cinemalaya. Ang intensyon nila, at ang mga tao sa likod nila, wag ko nang sabihin king sino, alamin mo kung sino sila, ito sila ay mga nasa industriya nung una na wala nang mahanap din na magpa- fund sa kanilang mga films. So nahanap nila ito, salamat naman ay mga may gustong mag-ano bale, sila na at nagging yung engine bale for this. Oo, there are some positive things that we can talk about. Talgang may mag maganda namang patutunguhan ito ngunit ang mga tanong natin ay mga may kontradiksyon pa ring dapat nating ayusin. Una, nagko-connect ba talaga sa audience? Pangalawa, 38| P a g e
nakikita ba nila, ang contradiction of the mode of production and reception and dissemination that is about to happen? Ang dami pang mga cases like sasabihin nila ay kapanganakan pa lamang ito, excuse me again, do you know exactly the history of independent cinema in this country? Wayback in the 50s and even in the 60s, ang salitang indie at independent ay iwinawagayway na it is really very much part of the mainstream industry dahil kung magigng independent film producer ka kapag di ka kasama sa apat na studios noon namely, NBN, Sampaguita, Lebran at Premier. So si Fernando Poe Sr., ng Royal Films Production at ng Palaris Production, Si Amalia Fuentes ng Amalia Mulach Production, si Joseph Estrada ng Ejercito Production etc., lahat sila mga independent producers in relation to the big four. So wag naman nila sabihin ngayon, na parang ngayon lang ipinanganak ang independent cinema..hindi..napakahaba na ng tradisyon ng independent production sa larangan ng commercial film making at nakikita ko ngayon, exactly, sa huli, makikita nating hiniram lamang nila sa totoong alternative cinema, sorry ha, yong 80s, kaya nga, gusto kong ibalik, magsulat na naman ng libro about just on this topic alone nga bale, and I would rather call yung indie cinema na tinawag naming nung 80s bale, ana it’s better to call it nalang as alternative cinema para ma-differentiate, sa indie-indie na talagang inangkin nung una, na yun pala sa huli isusuko rin na magiging mainsteam siya uli, so walang pagkakaiba.
S: So yung mga independent film makers ina-assert lang yung perspective lang nila pero hindi yung kunganong dapat gawin dun sa mga issues na dini-depict nila?
P: Kasi, sa pagtalakay namin sa issue na to, ang nakikita namin na sitwasyon diyan sa pag-aanalyze namin bale, hindi immersed ang mga independent film makers. Uso lang talaga ngayon? You know?
S: Bandwagon lang?..
P: Oo, na bandwagon lang pero hindi sila immersed. Nung una gumagawa sila ng pelikula, ako gumagawa ako ng pelikula tungkol sa kabaklaan kasi bakla ako, at may ipinaglalaban ako na karapaatn naming sa panahon ng military dictatorship. Oo, bakit kami marginalized, pero ngayon lahat bakla na., lahat Private Benjamin na, anong mga adhikain dun? In fact, napaka-negatibo hanggang sa mga pelikulang yang nga bale, e ang bakla sumpa, ay Diyos ko naman 21st century na bakit sumpa pa rin ang premise ng bakla sa mga kwentong ito. Yan talaga ang talamak na commercial films. Aabot na sa 1 Billion ang kita kaya hindi puwedeng hamakin. Ikumpara mo rito ang independent cinema, isang pelikula lang hindi niya puwedeng tapatan ang 10% na kita ng isang pelikula really. So hindi raw pera ang habol nila, adhikain. May disconnect nga na nasabi ko kanina at tinatanong mo kanina, ngayon kung paano nagyari yon kasi kulang nga sa immersion. Hindi nila mundo actually, pupunta lang sila sa Tondo, napaka-exotic ng Tondo, nagpapanaan sila ron etc., ako nagshu-shoot ako sa Tondo, but my goodness me, bakla man yan, magnanakaw man yang ginawan ko ng pelikula, tao ang mga ito. It is the sensation of nagsasaklaan, samantalang may patay.
S: Nago-offer po ba ng resolution yung mga independent film makers sa mga issues na dine-depict nila mismo sa films nila?
P: Hindi, uso sa kanila ang open-ended. Yung sinasabi mo na open-ended, alright. Wala silang paninidigan hanggang sa huli. Ako nung una, willing kami, kilala ang mga pelikula naming na may paninidigan, e panindigan mo yan hanggang magbarilan na hanggang sa makulong ka na. E ang problema ngayon anong paninidigan mo, e you don’t even have the audaacity to say na you know, it is not the duty of the director to solve the social ills, that’s so convenient for them to say that, e bakit mo ginawa yun? 39| P a g e
S: Kung may appeal man sa particular audience yung mga independent films na binabanggit nyo po kanina, yung audience na ba to sapat para sa kanila manggaling at least may act na manggaling sa part nila, to atleast solve the issue even at the minimal level?
P: Well theoretically, nasa lebel na tayo ng teorya ngayon ano. Tama naga naman, wala nga naming pelikula na makapagpapatayo ng hospital, alright. Ang pelikula is to be consumed visually and it will change your attitude. Ang labanan ay nasa consciousness mo, kaya ang pinaglalaban sa third world cinema, ano ang mga ito, conscientisation, politization, yan ang mga hiningi ni Solanaas at ni Pino nung nagsulat sila tungkol sa third world cinema na ang makakapanood ng pelikulang ito kung epektibo ang third world film ito ay dapat magpapabago sa pananaw at sa paninindigan ng nanonood kung magalit sila, magalit sila, agitation etc. So in other words, ang sinasabi ko nga sayo sa panahon ng konsumerismo ngayon bale, pinapanood lang natin ang mga pelikula tungkol sa karukhaan, poverty, corruption, and then okay. Kasi mas epektibo pa rin talaga ang telebisyon, ang new media, facebook, mas effective yun na di hamak naman no, dahil may mga problema itong pelikula. Unang-una ang kahalagahan ng naratibo. Sa ngayon, pinag-aaralan naming sa mga klase naming dito, ano ang mga kadahilanan na tekstwal. Doon mismo sa midyum e may problema na. Kasi magkukwento ka, e di magkwentuhan tayo, a baka pwede nating baasagin ang kwento, pero hindi yan, di ka mananalo sa Cinemalaya, pag walang kwento ang pelikula mo, kung ikaw ay puro advocacy etc. etc. So, kita mo na naman yung isang disconnect, alright. May sistema na pinapairal, ang mga patron ng indie cinema na ito.
S: Sa depiction nga po ng mga poverty porn dubbed as exotic films, paano po nakakaapekto sa independent film, sa pagiging alternative medium na ini-illutstrate nito ang social issues pero in line to what is popularly subscribed by the audience?
P: E contradiction ang epekto non. And the contradiction remains. More than it speaks of the film maker it speaks of the era kung kelan ginawa ang pelikulang ito ano. Siguro kapag nagbalik-tanaw pa tayo, sa tingin ko lang dahil ito nga yung medyo napaguusapan namin especially sa ACLE kahapon, na this period cannot seem to see the contradiction of its own kind. Gumagawa sila ng mga pelikulang ito, para kanino at para saan. Tinatangkilik ba talaga ito ng mga audience niya ano nga ba ang kahalagahan nito sa mga katotohanan na nangyayari ngayon. Pag pinipili mo naman yun, ia-accuse ka ng censorship, di ba? O sige ilabas mo yan pero in terms of, ito ang aking final conclusion ko dito bale ay in the end, what exactly is the greater need that this independent cinema is trying to fulfill? So nakikita ko ngayon, sige magtanong ka ata magevaluate, pwedeng banggitin ng mga film makers na nito na responding to reality etc etc pero sumatutal, ang pinaka-evident na need na pinu-fulfill nila ay ang manalo at magkaroon ng recognition, so medyo para sa akin taliwas yun sa uri ng independent cinema nga bale, lalo na sa panahon naming nananalo din kami sa festival, nagugulat na lang kami na pwede ka pa lang manalo sa festival pero ang totoong need nga don ay you are responding to the actual need because either you were really sorting out, who you were, why is our society like this and in the end ginagamit ang mga pelikula actually sa mga teach films, di ba pinapalabas na may mga alternative element, may mga factory workers, mga ganon.
S: Sir last na lang, ano po ang effect ng pagsasala ng isang media regulatory body such as MTRCB sa mga independent films?
P: E wala na kasi, tolerant na ngayon ang MTRCB. Unlike nung una nung panahon namin makikipag-away yun. Ang laki ng away ko kay Morato nung una para lang sa pelikula ko. E ngayon wala na kasi, kami na 40| P a g e
ang nakikipaglaban nung una sa mga censorship, e salamat sa Diyos at napaupo at natanggal namin yung ibang pangil na ano dictatorial censorship ngayon.
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Appendix E |Transcription of the interview with Professor Rosemarie Roque at Department of Arts and Communication, UP Manila, dated, September 2, 2013. ______
Student-interviewer: Firstly, tingin nyo po ba nakaka-build ng socio-political awareness ang independent film among its viewers?
Professor Rosemary Roque: Ang dapat kasi munang pinaguusapan ano yung definition mo ng independent film. Nagkataon kasi ung masteral thesis ko nasa field ng independent film. At isa rin yun sa dillema na kaillangan na di dapat malabo kung saan ako tumutungtong. So isa yun sa nilinaw ko anong definition ko ng independent film. Di ba na interview mo si Professor Nick de Ocampo, for one may sinulat siya sa CCP encyclopedia about alternative film aka indepedndent film at yong definition kasi na ginamit nya don at kung yon ang definition na gagamitin mo, ay independent film ay yung mga pelikulang di ginawa para tumubo. Kumbaga malayo sa profit orientation. sinula niya yun early 90s. At nirereflect niya kung ano yung nangyari sa independent film na tinutukoy niya hanggang bago niya sinulat yun, pero ngayon kasi 2013 na 2 decades na yung lumipas sa definition nya na yun kaya ko tinanong kanina kung sang framework sya nagsimula at obviously ang sinasabi niya ay yung naaabutan mo na yung Cinemalaya na 9 years na ngayon so mag-iisang dekada na next year. At obviously dahil sa Cinemalaya na nag-label siya na Cinemalaya Independent Film Festival, merron din siyang pinapalabaas na definition ng independent at doon papasok yung binanggit mo (bago mag-start yung interview) na sinusubscribe na lang siya or nagagamit na lang siya for commercial interests dahil kung paano na rin naging mainstream. So may ganon na talaga. Actually may term na nga silang na-coin last year yung "maindie", mainstream na indie. So kung ganon na nga pala ang independent, kung mag-memainstream ka din, nagbi-blur na siya. Kaya ko lang naman sinasabi sayo yun, kasi kung mag-srtick tayo sa definition na dati na defne sa CCP encyclopedia, yun kasi yung sasagot sa tanong mo yung ganong type ng independent film. Pero kung eto na nga na nag-blur na sa ganong motive na not for profit hindi na rin. Kaya kung yung tinatanong mo na independent film ay film in true sense of the independent na walang profit, hindi yun yung pangunahing motibo, yun ang sasagot na "oo", na independent film na ang layunin na magbahagi sa sosyo-politikal na usapin ng lipunan natin. So pero kasi hindi porke ayaw profit walang audience. Ang sinasabi lang kung kailangan mo munang tanggapin ang audience mo ay hindi ''magbabayad", yung hindi paying audience pero may audience ka, mabuti yun kasi ang problema sa ganitong mga sumusulpot na mga bagong indie may elements na you have to turn into your audience pero may additive qualifier yung "paying" kaya yun yung bakit Trinoma, bakit Greenbelt, bakit Alabang Town Center, mga commercial cinemas. Yung tinatanong mo naman na development , di ko nilalahat nang yun ay therefore kapag may commercial interest palpak na kasi the more nga na pwede tayong mag-demand na may bayad yan dapat mas maganda ang pelikula dapat may mas mapala tayo. Pero obviously nga dun yung problema para kumita yung formulang binebenta satin ay not necessarily ay ma- contribute sa mga lahat ng tinatanong mo di ba. Ewan ko kung malinaw sayo yun pero ang point ko, depende sa kung anong definition yung binibigay mo na meaning nung independent, yan ba na yung popular na ngayon na kapag sinabing independent ay Cinemalaya. Kasi yung tinutukoy kong independent, meron kasing..kung kilala mo si Roland Tolentino, Dean siya ng MassComm, may article siya long before pa, ilang taon pa lang ang Cinemalaya, trying to bring out the issue na itong Cinemalaya essentially ay market-oriented. Na para sa kanya ang tunay na indie ay hindi nga market-oriented, hindi dapat paying yung audience pero audience pa rin. Siguro audience pa rin dapat, audience in general kahit hindi yung magbabayad para kumita pero manonood ng pelikula mo. Eto na yung mga grassroots level at don siya pumapabor sa sinasabi niya kasi yun yung hinahanap ng pelikula na meron talagang nagiging ambag sa mga usaping gusto mo magkaroon ng papel yung pelikula kasi nga audience pero 42| P a g e
audience na hindi sinusukat sa kung nagbabayad ba sila ng malaki hindi tulad sa mga malls. Magkano na ba ang sine ngayon 170 plus at depende pa sa kung saang mall ka mononood.
S: Eto ron po siguro yung binabanggit ni Prof de Ocampo na Tudla sa Southern Tagalog?
P: Ang Tudla ay hindi Southern Tagalog, ang Tudla ay isang NCR-based group. Ang Southern Tagalog ay yung Southern Tagalog Exposure o STE.
S: Yung mga pelikulang inilalapit sa kanayunan para malaman nila yung sitwasyon nila.
P: Yun yung topic ng masteral thesis ko, yung mga political films group, yung kasaysayan nila mula 1982 dahil meron nang mga political film group nung '82. Yung mga political film groups tulad ng Tudla, Southern Tagalog Exposure, KODAO, MAYDAY, hindi lang sa Luzon, meron din sa Visayas at Mindanao actually, sila yung sinasabi ko na indie sa indie. Kaya lang hindi sila indie sa indie kasi hindi yung profit orientation ang habol nila kundi pelikula para sa edukasyon, social awareness for action para magamit yung pelikula para magabot ng mga advocacy na ang ilan ay may action na na-trigger mula doon sa audience.
S: Yung next po, sino po ba ang target audience ng independent film at bakit kinakagat ng particular target audience na yun yung independent film?
P: Yung Cinemalaya yung grouping non at the fact na kung paano sila pinupwesto sa mall at yung ung Cinemalaya goes to UP ay nawala dahil dalawa ang sinehan sa Trinoma. Obviously anong masasabi mong target audience dun, obviously yung paying audience ng mall yun yung target niya.Although ina-argue nila na atleast kasi may mga incident na streetlamp incident na nag-walk in sa isang banda na maganda siguro nga. Ang probema nga nung na-limit yung audience nila sa ano talaga followers niya nakakalungkot kasi nung nagri-reach out na sana sila for mall goers para dagdag audience, nasaan na yung mga loyal audience na nag-build nung ganung foundation para masustain siya throughout the year hanggang lumaki yung audience nya may kini-curve so obviously nare-reinforce yung thought na commercialize talaga yung interest niya at yung audience na kayang bumili non, yun yung target niya at yung isang independent na sinasabi ko na indie na indie in the sense that obviously yung intent nila ay grassroots na yun nga makikita ka na kung merong umpukan na overnight yung mga magsasaka, magpapalabas sila diyan saka kung hindi naman ganon dadayuhin nila sa mga barangay, sa mga pagawaan nila tulad nung pandayan ni Lino Brocka ng Tudla, ongoing siya ngayon actually. Yung fifth pandayan ni Lino Brocka ay nagstart nung Huwebes..
S: Sa UPFI?
P: Hindi lang sa FI parang opening lang yun pero yung bulto ng schedule nila kung titignan mo meron silang ilang buwang schedule ay mga barangay, mga pagawaan at mga eskwelahan, yun yung essence ng grassroots though yung ibang mga independent films dinadala rin sa mga schools pero may other aspect mga siya yung barangay kasi sa barangay nandon yung mga manggagawa, yung mga low income earners na puwedeng ma-reach out sa mga communities sila nagtatrabaho o sa eskwelahan tulad nating mga estudyante, marami, kumbaga audience development talaga na libre o kung hindi man libre minimal na presyo although issue yan e kung pagbabayarin mo ba sila o hindi yung audience kung may absoulto bang libre. Isang bagay sa mga pinagkukuunatan ng noo kasi totoo rin namang kailangan mo pa rin talaga ng panustos sa paggawa ng pelikula kaya may aspektong pinansyal ka talagang iko-consider at 43| P a g e
actually kasama yan ngayon sa dinodokumento ng thesis ko na pano itong mga political film groups na to sa buong existence nila na pano humarap sa mg hamon na ma-sustain yung production nila. Iba-iba sila ng kuwento, yung iba nagsusulisit, pero may rules sila kung ano ang susulisitan lang. Ibig sabihin hindi sa kumpanya na nagbebenta ng kaluluwa nila, yung ganon. Yung pwedeng kunan ng suporta or government funding, oo kumukuha sila, or international funding kung meron kung may magsu-support pero hindi siya madali totoo yun kaya part na ng pagiging independent nila pano ma-sustain kasi may mga groups na wala kasi malaking dahilan dun tao yung mag-stick dun sa group na mag-sustain, pero sinasabi nila na palagi namang tao pa rin hindi pa pera sa totoo lang kasi pag dedeicated naman daw talaga sila magagawa naman ng paraan yung dillema sa financial resources na kulang. Madiskarte sila in a sense.
S: Kung isi-situate sa Philippine CInema ang independent film, palagay nyo po nasaan po ito sa ngayon?
P: Sa bilang bat bilang lalo na sa digital, malaking ambag siya kasi nga di ba mas naging feasible ang paggawa ng pelikula, maraming bilang dahil sa digital technology. AT di mabubura yung way niya na yun at sa totoo lang dahil nga sa technology ngayon pwedeng dumami pa di ba ang problema lang din yun nga pano siya makakin din kasi form siya e na pwede din ngang pag-fiesta-han dahil may m,ga vested commercial interests dati digital tapos ina-access lang nung mga di kaya ng mga mahal na film na 35mm na celluloid kunyari, mahal yung ganung mga rolyo, oo pero dahil nga sa digital yun nga nagamit nga ng mga nasa independent, student productions kasi maganda, ngayon ginagamit na rin nila kaya yun lang din naman yung dillema na pag sila yung mas nag-dominate at hindi yung gagamit ng form for democratic purposes, pero number at number na-sustain yung mga pelikula ngayon dahil ang dami ng digital film productions.
S: Okay po. Given na dinedepict netong mga independent film na to yung mga socio-political issues, tingin nyo po ba effective avenue sya to communicate influence to the government for them to axct upon the grievances of the society?
P: Effective siya kung ang gauge mo ng effectivity ay dahil bina-ban siya, ibig sabihin threatened..yung kunwari dati meron pang time sa Robinsons Galeria na yung Indie Cine something kung saan yung mga independent film ay pinapalabas dapat hindi ippalabas yung right ng mga public services announcement na kailangan pag ipapalabas mo siya sa mall may MTRCB rating, ni-rate siya na "X". So kung ang meaning ng effective ay may sinasapul siyang reyalidad,m nag-ban sila, effective nga siya siguro dahil may kino- confront yung mga totoong issue. Pero the fact na may ganong pag ban ibig sabihin, may challenge siya na sa ibang paraan pinaabot sa mga tao, di ba. Kasi nga kung di mo ma-access yung ganon, may alternative ka talaga para magig effective siya kasi ang issue para maging effective yung dami ng mar- reach out non na audience..ano pa ba yung mga na-ban na mga indie films, siguro yung isang grupo na Exhibition, meron silang ginawang documentary film sa Liyab ng Libong Sulo, tungkol sa history ng Pilipinas ay yung histoty version ng Philippine Society Revolution , ewan ko kung ala mo yung libring yun ni Amado Guerrero though ummain naman si Joma Sison na siya si Amado Guerrero.So anyway that book ginawan ng documentary, yung first part nun, at dun nakita ng mga political film gropus yung bisa ng film sa edukasyon kasi pwedeng pag pinanood mo ngayon yun tatawan mo na lang siya kasi dated kasi may mga effects siya na parang given yung digital technology, ah baduy na siya, I mean yung punto ko luma na siya pero yung buhay ng video na yun hanggang sa timer na ginagamit pa rin siya ang dami mong na reach out na bilang ng tao kaya effective siya. Ngayon ang point ko yung sangalan ng tubo, yun pinapalabas ko sa klase ko yun, halibawa sa Humanidades at hindi nagpi-fail yung effectivity niya na ang
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common na sinasabi ng mga manonood enlightened sila na di nila alam, na informed sila naunawaan na nila na nakatulong siya sa ganoong awareness. So if that is influence di ba, oo naman.
S: Pero yung mga ngayon po not necessarily mga pinapalabas sa CCP?
P: Kasi tina-try din naman kasi nilang mag-reach out e. Yung mga independent political films na to, may gawad CCP halimbawa kasali naman sila dun e, di man taun-taon pero tinatawid nila yun.So , o kaya exhibition film may mga panahon na kasi na malaya na pinapalabas yung mga sinasabi ko na yun pero isang bagay nga rin kung gano kadami yung nanood.So ang point lang gawin talaga lahat ng paraan kung saan ka maka-reach out ng audience. Pero totoo so far ang dami pang pwedeng gawin, yung filming ang daming dapat abutin. Saka kahit sa maintream sa totoo lang, may karapatan naman tayong mag- demand ng mga matinong pelikula, the fact na binabayaran mo di ba kailangna matino yung pelikula.
S: May accusations sa mga independent film makers na opo ina-assert nila yung positions nila sa mga dinedepict nilang social reality issues pero hindi sila nago-offer ng solutions kung paano ma-solve yung dine-depict nila?
P: Ang punto kasi walang isang pelikula na, eto yung sarili ko nang pananaw, walang isang pelikula na kaya niyang ibigay, yung parang siya yung cure na sa lahat na ibig sabihin lahat ng pelikula dapat ganon. Ano kasi siya e kabuuan sila hindi lang isa sagot na sa lahat. Kung isang pelikula lang pala yung gagawa nung lahat, matagal nang nasolusyunan yung gusto natin. Pag ganon lang pala ang kailangan ilgay sa mga pelikulang yan lahat ng sagot sa problema kasi hindi ganon kasimple yung mga problema natin di ba na isang bagay lang ang sosolusyunan. Maaring oo may tendency na yung film exposition ay problema yung nagagawa, totoo namang bundok kasi yung laki ng problema, byan yung reality. So umaapaw ung reyalidad ng problema at ibat iba pang pulo natin sa Pilipinas na di nakakaabot sa kamalyan ng mga tao sa Maynila sa Mindanao, I mean ang dami mo pang kala mo ang dami nang sinabi at umuulit pero hindi pa rin pala talaga lahat at may hindi ka pa rin alam sa problema pa lang yun a. Sa solusyon naman, totoo rin namang may mga peikulang hindi problema na porke hindi inilagay yun therefore lahat na nung ina- argue nya sa laman niya ay mali na. Yun naman yung point e, meron pa rin ba siyang bigat, may sinsabi ba siyang tama para ibasura mo nalang siya, may ano pa rin siya values pero depende sa pelikula mo kung ano ang dapat mong lamanin. So ang magiging layunin ay yung magtampok ng mga solusyon, gumawa ng pelikulang nagdodokumento ng mga ganong posibleng solusyon. Nasa ano naman yan e, nasa layunin lang talaga para makita pero kung meron mang tendency na yung iba hindi pa yun magawa, hiundi yun automatic na pang-guho nung validity ng pinepresent nila. Sabihin na lang natin na yun ba nag kulang e di gumawa. Ibig sabihin wag mong ipang-kontra yun na therefore, gumawa ka ng mga pelikulang yun naman ang magtatampok. Pero kasi di mo rin maiiwasan dahil sabi ko nga sayo kaliwat kanang mga problema talaga at marami rin namang tao pa na hindi nalalaman yung mga ganong problema. ewan ko kung may sense yung gisto kong sabihin..
S: May isa pa pong accusation against independent film na nagde-depict sdila ng mga social reality issues pero hindi naman nila mismo nararansan yun therefore di naman talaga sila immerse para malam yung condition ng mga subject sa depiction nila?
P: Totoo. Parang yung mga documentaries TV daw yan e na sa isang linggo bago ng bago yung palabas soa ng phasing ng paggawa ng ipapalabas nila ang bilis.So pano mo maka-capture nga ba yung pasikot- sikot ng problema dun kung ilang araw ka lang dun di ba, kaninong punto de vista ba talaga yang 45| P a g e
nakukuha mo. Sa totoo pagdating sa ganito, commrercialized nga yung programs , ay dilema talaga pero hindi ko geneneralize di kasi meron ka rin naman talagang mapupulot sa kanila. I mean may maka- capture pa rin naman sila although hindi.. kunwari sa Prof ko ngayon sa documentary class, ayaw niya tawagin na documentary yun ang tawag niya dun para sa kanya extended news reports lang yun kasi nga hindi daw nami-meet yung totoong esensya ng isang documentary na talagang nilulubog mo . In general hinndi lang documentary so kahit sa narative, fictional films ang point para di sa kahirapan paano ka magiging window dun sa pinepresent mo. So ma dillema dun na kung ang sinasabi nilang film makers ay may sensibilities na middle class hindi sila naggo-go out of the way. Ang presentation nila ay mga pigments lang ng imaguination nila na hindi pa talaga grounded so si Roland Tolentino marami siyang sinabi na diyan at isa rin yan sa kinomment-an nya sa mga independent film makers na meron if essentailly medicak class sensibilities na nag sabi nga is to get out of their comfort zones. Kung ano yung given pa lang sa kanila para nga hindi naman kasi bawala yun e di ba, maganda nga yun na galing ka sa ibang social status na alamin mo rin yung kalagayan ng iba basta lang lalabas ka sa comfort zones mo.
S: Tingin nyo po ba ung mga Film Conventions abroad tulad ng Cannes Film Festival and others help reinforce local independent film makers?
P: Kasi nung unang panahon totoo, sina Lino Brocka, nagganyan sila pero ang mas issue kasi nyan ay pano dalihin yung isyu ng Pilipinas sa panahon ng Martial Law, may repression vsa consciousness ng labas, yung ganon much as you want a gain for yourself.kumabaga part siya ng linkage na kailangan para makita yung dillema ng bansang ito.ngayon ibang bagay yung nangyari sa recent years na ibang bagay na yun na mga gumagawa ng pelikula na ang target agad foreign for the fame di ba? Ibang bagay kasi yung repressed kaya humahanap ka ng daluyan para maipalabas pa rin yung mga pelikulang nagsasabi ng kalagayan dito sa ang layunin mo talaga ay lumalabas ka lang kasi gusto mong sumikat. Kasi I'm sure sila LIno Brocka gusto nilang ipapanood yung gawa nila dito sa Pilipinas, na-ban lang ung gawa niya na "ora pronobis" yun sa Cannes yun napalabas pewro yung sa ngayon meron talagang audience dito na di sila nililimit para ipalaganap, mas ginahawa nila para sa abroad. Kaya naman nagkaroon ng Film Fest Whore na parang part yun, poverty porn. Mga bagong terms nga nagyon para i-criticize yung naging trend. Pero alam mo di sa Pilipinas siya nagsimula, sa third world countries, bago pa man ang Cinemalaya, meron ana kong book na nabasa na ganon yung criticism sa mga third world film makers na gumagawa ng films para (sa fame)..ang ibig kong sabihin dillema na yan nung ibang bansa na nauna sa atin. Yung time lang na naging patok siya sa Pilipinas naging dillema din siya na rin ng mga film makers na na-trap sa pagiging sikat dahil sa international fest. Wala namang problema sa totoo lang kung dalhin nila don, part pa rin naman yun ng right di ba kung sino man kung may opportunity, ang mas imporatante lang babalik ka kasabay ng audience development whle niri-reach out mo yung ibang bansa, yung audience sa ibang bansa wag mong kakalimutan yung paano ka nagpapaunlad ng audience sa home country mo. Wala namang problema yung criticism kung tutuusin may mga Pinoy din naman abroad, ang isyu lang din dito sa sarili natin pano mo pinaparami, kasi pag dun nagiging tunay na impluwensya yung films bilang bahagi ng kultura bat bilang nagiuging bahgai ng cultural heritage natin, pano kina-capture yung sa panahon sa tin na inilalagay sa pelikula.
S: Tingin nyo po pano nakaka-apekto sa mga indpendent films ngayon compared sa noon yung pagsala ng isang media regulatory body such as MTRCB?
P: Syempre magandabng may iba ka pang kunan na may direct experience kung paano sila naapektuhan ng MTRCB pero obviously kung ang fim ay daluyan sana ng freedom of expression syempre censorship syempre ang idea ay bangga sa freedom. Although yun naman ang debate palagi na wala namang 46| P a g e
absoulte freedom. Matagal ko naman nang nababasa sa mga stand nila yung mga manifestation nila na hindi censorship yung may governemnt body to center them, i-exercise nila yung sarili nilang (classification)..oo kunyari may kapatid kang bata, in a way you censore, kasi may cartoon ka na sasabihin nsa kanya wag mong panoorin , nakukuha mo yung point?
S: opo
P: So may idea rin na inaakma yung palabas ka may ganong classification so yun yung alam kong ine- espouse nung mga artists, yung issue ng "classification" lang hindi "censorship" kasi historically ang censorship gumagamit talaga to repress critical ideas na pwedeng malaman nung pelikula. Ah kung meron man dati si Armida Segeon Reyna.Nagkataon din aksi nagresearch kasi kami sa Film Class namin, Erap time yung na-appoint samin e. Nagresearch kami anong status ng Philippine Film Industry nung time nierap so ni-research namin yun. Ginawa niyang head ng MTRCB si Armida Segeon Reyna, "nagflourish" daw yung sex and violent films non pero sabi ni Leo Martinez, yung head ng FAP (Fim Academy of the Philippines ), na anung ininterview namin siya sabi niya hindi talaga absoulute na nag- flourish yung all types of films kasi nga sex and violent related lang yung real deal political films, critical films di pa rin naman hinayaan at dapat daw ang mas nangyari ina-bolish na lang talaga ang MTRCB nung time ni Erap since artista naman siya at alam niya yung dilemma ng pinanggalingan niyang industriya. Ang best sa industriya niya ay hindi minaintain yung MTRCB as a censorhip board butgo away with it but yun naga mas classification yung gawin.Same way na pano natin gusto nating i-classify yung mga pinapanood natin sa mga bata.
S: Bilang ang independent film ay isang alternative medium, paano nakaka-apekto ang paggawa niya ng mga pelikulang popularly subscribe ng paying audience to think na alternative medium nga ito para maglahad ng social reality issues?
P: Kung paying audience yan probably, generic formula films pa rin naman in a sense yung pinapatronize, yung mga gawa ng Star Cinema tignan mo, yung mga blockbusters lagi naman sa Star Cinema. I mean yun pa rin yung dominated na media conglomerate na meron studio, so ang point yung sinbasabing poverty porn nadyan yan sa mga indie films na yun nga yung mga nagpi-film fest abroad, tama? So ino- mold sila pero not as wild as that yung mga sinabi kong films na 200 plus theaters nationwide so di naman ganon yung mga yun e, so yung sinasabing popular pa rin hindi naman yan yung popular nga yung tintukoy mong povery porn na ano pa rin yung audience na ikumapara mo sa mga blockbusters di ba? kaya andun yung dilemma sa formulang yun.Although nagdadagdag sila ng problema di ba real deal poverty porn pa rin kasi imbis na tumulong sila na bumangga dun sa mga formula films na dapat talaga paghusayan pa, so nagdadagdag pa nga sila ng ikaka-formula ng yun nga poverty porn naman na malungkot lang kasi pero hindi kasi dapat dini-dismiss na porke may topic on poverty, automatic povery porn na agad yung pelikula. Hindi talaga natin maiiwasan..na yung iba nga bina-backdrop na lang yung poverty , dito sa Pilipinas kahit hindi rin naman talaga poverty yung ina-address na isyu. Kasi nga totoo rin naman na may poverty, isyu na naa lang talaga siya ng kung paano mo ba tamang ipe-present sa films.
S: Last na lang po, ano po yung comment niyo sa mg independent film makers going mainstream.
P: May mga commercial film makers naman na gusto ako a, sina Jeffrey Jeturian, kahit yung "Ekstra" niya sa totoo lang ay sinabing maindie, ang isyu kasi ay i-judge mo yung film sa kung pangit ba siya, maganda naman siya wala kaong issue sa kanya. yung mga kwento nila actually ay isang malaking compromise, 47| P a g e
kunyari yung film niya na Tuhog, hindi yung Tuhog ng Star Cinema, may nauna nang original na Tuhog, at yung Tuhog ay part ng Ten Best Film nung 90s decade, compromise sya in a sense na produced siya ng Regal ni Mother Lily, yung mga formula na pasok sa panlasa ni Mother, cinompromise ni Jeffrey Jeturian, meron dung babae't lalaking hubad na nasa sulok may ganon di ba na nagpakita ng balat, yun yung ginawang asset ng pelikula, ang galing, I mean wala akong problema, it is one of the best film in the decade, kais yun gung matino, na salamat nagka-commercial film na ganon kasi may matinong mapapanood yung mga tao. So kahit naman kasi yung mga indie films meron sana sa commercial ay ma- attain nila yung dami ng audience na sana makuha ng mga independent films pero yun nga dilemma yun kasi nga di sila nabibigyan ng espasyo sa theater kasi nga di sia kikita, maing mainstraem sa number yung mga audience sa independent. Hindi mo naman gusto na yung independent film ay forever na konti yung audience, na audience development talaga yung pinaka-conclusion..
S: At the expense of exploitation?
P: Yun nga yung sinasabi ko na kailangan tanggapin na part ng audience developement yung hindi ka magri-reach out sa paying, ibitg sabihin kahit hindi non-paying i-reach out mo sila so audience develoment, yung grassroots, yung mga pinapalabas sa mga klase, mga extracurricular yung mga out-of- the-class screenings kaya dapat may mga advocates din talaga na nagi-sponsor ng mga screenings kahit mura lang limang piso, benmte pesos, kasi nga naman magbabayad ka rin ng kuryente, I mean, basta yung point ay ganion, hindi necessary na mag-mainstream ka ng audience ay vis theater, yung commercial cinemas, yung point is yung dami nga, kung meron kang jeep, magbabyahe ka sa isang barangay, maglalagay ka ng screen na puti o kung may pader kang puti tapos ipo-project mo dun tapos ipapanood mo sa mga tao, yun yung point ko di ba, yung maging mainstram sa sense na number in quantity of audience reach na tapatan niya yung pano pumalo yung It takes a Man and a Woman, number of audience based on ticket sales dapat tapatan din ng hindi based sa bayad di ba kahit cheap yan per number of audience lang pero ang point yun, ideal yun.
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Appendix F| Transcription of the interview with Dean Roland Tolentino, at College of Mass Communication, UP Diliman, dated, September 24, 2013. ______Student: Sir yung una, in terms of depiction, there are a lot issues coming out that independent films dubbed as poor-nography films which exploit the life of the Filipinos as depicted in these films, eto na po ba yung formula ng contemporary independent film?
Dean Roland Tolentino: Oo kasi nga e may particular style na siya na editing, shoot and cinematography, use of character actors na very competent or even none actors.. neo-realism din .. the lives na easily co- optable nung type ng, kunyari "On the Job" (Erik Matti's film 2013) ganon din yung look niya e, independent film ang look pero supported by Star Cinema, at kung may formula talagang lumalabas na characteristic ng indie film bilang pangunahin na, kasi may indie film naman na katulad nina Khavn dela Cruz or Raya Martin na hindi naman ganyan. Pero yung mainstream sa loob ng indie film ganon yung look.
S: Yung next po, given that these independent filmmakers are not immersed..
D: Anong immersed?
S: Yung hindi naman po sila nakikipamuhay dun sa shooting place nila, given na hindi nga po..na di sila immersed pano mo mamimi-nimize yung danger of sensationalism given na di nga sila immersed?
D: Kailangan pag-aralan nila yung issue na tinatalakay nila kung di man sila immersed dun. So mahirap talaga tumalakay e na di ka familiar with. Kaya nagtatagupay si Arnel Marbocio kasi taga Mindanao siya, familiar siya dito sa violence na nangyayari sa various parts of Mindanao. Mahirap naman sabihin na di immersed may mga ilan siguro na di naman taga-Batad na nakakagawa ng pelikula tungkol dito sa mga kabataang lalaki na nag-tu-tourist guide, so pano mo mamiminimized walang way kung di mag- immersed ka. Yung immersion can range from kung taga ron ka talaga pumili ka ng topic na familiar with ka lahat naman tayo may community na sub-altern na familiar tayo so pag-aralan mo yung isyu na gusto mong talakayin dahil di ka naman pwedeng tumalakay na di ka familiar o nakalubog sa isyu na yon.
S: So okay po, in terms of audience naman po, may large disconnect po na binabanggit si Prof Nicolas de Ocampo, given na yung contemporary independent films ngayon are screened sa mga Greenbelt Cinemas, Trinoma, Ayala, ano pong comment nyo don?
D: E ganon naman talaga sa sinehan. Kung naka-tsamba pa sila, di naman lahat ng indie film na nagawa nagkaroon ng commercial screenings, mabibilang mo sa sampung daliri mo a year sa sixty years na produced na indie film, ang nakakalanding ng ganoong screening. At talagang intended ito sa basic lapses na tinatalakay nila obviously wala namang fantasy na gagawa ka ng pelikula para mamulat yung mga tao unless part ka ng political film groups tulad ng Tudla, KODAO, o Southern Tagalog Exposure. Ito naman ay pelikula na pinondohan ng Cinemalaya, Cinema One, ng CCP, Sine Pilipino, so wala namang pagtatangi na meron kang commitment na mapalabas ito sa community na pinanggalingan ng kwento nito. Kasi nga e, at yun yung drawback ng Indie Cinemang ito na very instructive, yung klase ng story telling nila dahil walang return sa community maliban lang sa ilan. Pero di ka rin nakakatiyak dyan kasi, alam mo yung mga pelikula ni Mel de Guzaman ay nagkakaroon ng public full screening sa Nueva Vizcaya, ibig sabihin mahirap gumawa ng definite consclusion sa ganyan kasi di naman natin alam sa ground level kung saan nagsi-circulate yung iba-ibang indie cinema. Yung mainstream indie nga na kwan, 49| P a g e
baka nga likely wala. I doubt it kung itong “Thy Womb” (Brillante Mendoza's Film 2012) ay napalabas sa Tawi-Tawi baka naman, wala namang FM Tawi-Tawi, ay likely di naman nagkaroon ng access yung mga tao na mapanood ito or dahil may copyright doon yun lang yung chance na makakapanood sila ng pelikula na sila pala ang tinatalakay.
S: Sir, sino po yung target audience ng contemporary independent films?
D: Generally ang target niya ngayon whether indie or mainstream ay middle class. Kasi nga 150 pesos ang presyo ng ticket mo which is a third o minimum wage so yung mga mangagawa hindi sila yung target ng mga ito kundi mga middle class talaga na mga estudyante na kayang mag-save ng konti sa baon nila. So ang target pa ng indie films hindi lang middle class kundi intellectual crowd din. Ibig sabihin yung academe based, kasi kung di ka naman ni-require manood sa Cinemalaya, or sa Gateway, or Sineng Pilipino hindi mo naman siya mae-encounter e. So intellectual crowd talaga yung target, mga estudyante. Ang taas din ng kahilingan ng Indie Cinema na ang audience talaga, kasi di tayo sanay, almost all part ng audience ng Philippine Cinema yung mainstream hindi sanay sa mga pelikula na pinag-iisip tayo or hindi eksakto yung ending na di katulad sa maintream cinema na happy ending not the usual audience of the mainstream dahil hindi sanay sa mga ganong klase ng pelikula na pinagiisip tayo, hindi eksakto yung ending or malinaw yung closure.
S: Naniniwala po ba kayo na ying independent film ay isa lang sa mga creation ng elite class para i- consume nila?
D: Malinaw naman talaga na ito ay government slash parang PPP (private-public partnership) kasi Cinemalaya, CCP slash Cojuangco, CCP/gobyerno slash individual film makers, yung Sine Pilipino, ABC/TV five..slash mga film makers, so ibig sabihin ay malinaw kung anong klaseng “machinations” ba para i- usurpate yung Indie Cinema at yung.. kaya di naman napaka-limited ba na ayun din yung kwan niya kasi di naman sila marketable nga this time yung indie cinema kasi nga ang bini-break lang natin na market ay yung 20% ng Philippine society na middle class at upper class so yung pinag-uusapan. Parang fellow elite talking to fellow elite. Kasi yung 80% mo, so kunyari isang saleslady manonood yan pero hindi indie film ang panonoorin niya, Star cinema, Sarrah Geronimo slash John Lloyd na pelikula kasi nga gusto niyang malibang. So for the most part eto talaga, elite catering to 20%, kapwa elite lang din, so tayo-tayo lang ang nag-uusap.
S: So sa influence namna po, whether directly or indirectly, nagkaroon na rin po ba ng in road yung indie cinema to influence the government?
D: I wouldn't have known kasi kailangan may case-to-case basis. Dahil wala akong familiar case kung san ay na-impluwensyahan niya yung gobyerno. At yung documentary films natin parang walang ganung “hamig” e na dapat mong i-expose ito, di amo sigurado .. kailangan mong isa-isahin yung pelikula na yan so paano nakaapekto if at all, syempre para magawa yung pelikula, e di ba kini-claim mo, open naman si Si Brillante Mendoza dito ay institutions of local government ang tumulong sa kanya, congresswoman, governor, so di sila napahamak kahit si Nora Aunor ang artista nila pero syempre hindi naman nakaapekto sa buhay ng mga tao. If at all nakita naman natin at least sa pelikula kung ganon kaganda at the same time kung gano ka-beauconic yung buhay sa Tawi-Tawi parang di nagbabago throughtime.
S: In terms of reinforcement naman po, etong mga Cannes Film Festival and other Film Conventions abroad, nare-reinforce nya po ba yung mga indie filmakers locally? 50| P a g e
D: Yan yung pangarap ng lahat ng gumagawa ng mainstream independent films. Yung top a, Cannes, Berlin, Busan, Toronto, Venice. So ibig sabihin naka-tsamba lang tayo sa Cannes, hindi katulad ng Korean Cinema na na-hamig na nila lahat, Oscars na lang ang kulangsa Korean Cinema para check na sila lahat, nag-best picture, best director, actress/actor sa maraming international festivals. Yung Pilipinas ay may profiling, parating may retrospective in our time of history in indie cimema yung films natin sa iba-ibang festival but at the same time, ay in terms of awards ay di pa naman talaga ganon ka-successful pa, successful siya compared sa Malaysian Films or Singaporean Films pero di kasing success story ng Korean, Japan or Taiwanese Films.
S: Comment nyo po sa mga independent film makers na pinapasok ang mainstream?
D: Itong nag-direk ng OTJ hindi naman siya naging independent talaga e kasi lahat ng films niya or most of the films na na-produce niya is really mainstream cinemas, “Sigaw”, yung mga horror films, yung mga sex-oriented films, hindi naman independent films yun. At wala naman talaga naga-aspire I think, kasi most of these directors di naman nagki-cater sa commercialism, kunyari si Alvin Yapan, din mo siya mapapa-direk ng mula sa "Sayaw ng Dalawang Kaliwang Paa" biglang magpi-filming ng Star Cinema at gagawa ng romantic comedy halimbawa. Kaya yun syempre ang nagpapa-withstand is really co-opted ay yung values na na-form nila as independent film makers hindi ganon nagta-translate din sa mainstream kaya very few si Jade/Jake Castro lang ata yung maganda yung lahat track record kasi yung "Juana Change" sumampa naman sila sa box office etc. So nakaka-move kasi there still doing it in in very limited unlike Kimidora, independent film pero back up by powerful independent film producers katulad ni Piolo Pascual na nag-take on at naging successful..kasi you don't see them boarding over mainstream cinemas. So yung mainstream cinemas would rely on its directors pa rin, so mga women directors para sa Star Cinema, itutuloy pa rin nila..
S: Sir yun last na lang po, if you are familiar with Bayan ko or Titser ni Alix na pinapalabas sa News TV 11, parang documentary film po siya cut into episodes, tingin nyo po ba ito na yung independent film conquering the television?
D: Apparently, kasi inappropriate sila ng Television to disseminate information saka kung sa ABS ito or 7 dapat may peg parati kung pano dapat magreport ng news feature so ito medyo cutting edge but at the same time pumapasok na rin sila sa form na hindi mo sila ipapalabas kung di sila nage-entertain. Halimbawa yung pelikula ni Jewel Maranan sa Tondo, kagaya neto self-contained na walang commercial na kino-consider..So yung issue ng govermentality na kung saan yung laman or form ng indie cinema ay nakakapag pressure sa gobyerno or businesses para magcommand ng favor, obviously, yung mga documentary films sa telebisyon e one time big time lang yun. Ang mga media conglomerate ay pampapogi..tuwing eleksiyon or kung may particular need na mag-compete sa New York na pumapasok naman na nananalo diyan ay mmga documentaries nila..
S: So to conclude lang Sir, do independent films build socio-political awareness among its viewers? D: Of course naman, kasi yung 20% na kinakausap mo, intellectual crowd is a powerful 20%, 20 million Filipinos na possibly yung nakakusap nito. Pero like all films very hindi limited films e, di ba na namumulat ka pero at the same time di ka naman tatanungin ng pelikula pagkatapos e, ibig sabihin mamumulat ka sa instance na yun pero pinanood mo siya sa Trinoma paglabas mo kakain ka ng Blizzard tapos magmo-malling ka hanggang sa time na makauwi ka nawala na yung radical sence na sina-submit ng film at ito yung limit ng film mo, kaya yung film collective yun yung may govermentality na may 51| P a g e
political agenda na pagkatapos ng pelikula, magdi-discussion anong tingin mo sa pelikula? Or by the time na natapos ay nakakapag-organize gaya ng Tudla, naoorganize nila yung tao na i-defend yung community nila S: Okay na Sir. Thank you po.
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