Newsletter 67 Spring 2013
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2013 PHILIPPINE CINEMA HERITAGE Summita Report
2013 PHILIPPINE CINEMA HERITAGE SUMMIT a report Published by National Film Archives of the Philippines Manila, 2013 Executive Offi ce 26th fl r. Export Bank Plaza Sen Gil Puyat Ave. cor. Chino Roces, Makati City, Philippines 1200 Phone +63(02) 846 2496 Fax +63(02) 846 2883 Archive Operations 70C 18th Avenue Murphy, Cubao Quezon City, Philippines 1109 Phone +63 (02) 376 0370 Fax +63 (02) 376 0315 [email protected] www.nfap.ph The National Film Archives of the Philippines (NFAP) held the Philippine Cinema Heritage Summit to bring together stakeholders from various fi elds to discuss pertinent issues and concerns surrounding our cinematic heritage and plan out a collaborative path towards ensuring the sustainability of its preservation. The goal was to engage with one another, share information and points of view, and effectively plan out an inclusive roadmap towards the preservation of our cinematic heritage. TABLE OF CONTENTS PROGRAM SCHEDULE ROUNDTABLE DISCUSSION 2, COLLABORATING TOWARDS 6 23 SUSTAINABILITY EXECUTIVE SUMMARY NOTES ON 7 24 SUSTAINABILITY OPENING REMARKS ANALYSIS AND RECOMMENDATIONS in the wake of the 2013 Philippine Cinema 9 26 Heritage Summit ARCHITECTURAL CLOSING REMARKS 10 DESIGN CONCEPT 33 NFAP REPORT SUMMIT EVALUATION 13 2011 & 2012 34 A BRIEF HISTORY OF PARTICIPANTS ARCHIVAL ADVOCACY 14 FOR PHILIPPINE CINEMA 35 ROUNDTABLE DISCUSSION 1, PHOTOS ASSESSING THE FIELD: REPORTS FROM PHILIPPINE A/V ARCHIVES 21 AND STAKEHOLDERS 37 A BRIEF HISTORY OF ARCHIVAL ADVOCACY FOR PHILIPPINE CINEMA1 Bliss Cua Lim About the Author: Bliss Cua Lim is Associate Professor of Film and Media Studies and Visual Studies at the University of California, Irvine and a Visiting Research Fellow in the Center for Southeast Asian Studies at Kyoto University. -
Expressions of Tagalog Imaginary the Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959)
ISSN: 0041-7149 ISSN: 2619-7987 VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio p. AfricA . UNITAS Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) . VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio P. AfricA since 1922 Indexed in the International Bibliography of the Modern Language Association of America Expressions of Tagalog Imgaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Copyright @ 2016 Antonio P. Africa & the University of Santo Tomas Photos used in this study were reprinted by permission of Mr. Simon Santos. About the book cover: Cover photo shows the character, Mercedes, played by Rebecca Gonzalez in the 1950 LVN Pictures Production, Mutya ng Pasig, directed by Richard Abelardo. The title of the film was from the title of the famous kundiman composed by the director’s brother, Nicanor Abelardo. Acknowledgement to Simon Santos and Mike de Leon for granting the author permission to use the cover photo; to Simon Santos for permission to use photos inside pages of this study. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). -
Fil-Am Nurse Enjoys Success in U.S. Home Health Industry by Alex P
Msgr. Gutierrez Riz A. Oades Entertainment Permanent FiL-Am YOUTH: “No, I’ve already Jennylyn: Resident gone with the Navy Path with you!” ‘My fault’ May 8 - 14, 2009 Fil-Am nurse enjoys success in U.S. home health industry By Alex P. Vidal/ PNS OAK BROOK, Illinois -- Happy Mother’s Day to All ! While many traders and finan- Pilipinas: cial managers in the United Anne M. Jarvis is credited States are groping in darkness with originating Mother’s Day. over the gloomy economic She never married and was ex- atmosphere wrought by reces- Balik-Tanaw tremely attached to her mother, sion, a 41-year-old nurse from Miag-ao, Iloilo in the Philip- By Dr. Romy Protacio of golf in world class golf Mrs. Anna Reese Jarvis. After courses, visiting parks and pines has successfully inched “Balik-Tanaw” means museums, or even simply Mrs. Jarvis died, Anne Jarvis her way into home health to look back at the past – in watching sunsets in stunning missed her mother so much business in Fairfield=2 0Way, retrospect. The word balik- resorts beyond compare. Bloomingdale. tanaw vividly describes my The Philippines is never The success of Lira Faicol recent trip to the Philippines. wanting for such options Mueda’s four-year-old home Whenever I take a trip back and all for far less than they health business that serves the entire state of Illinois however didn’t happen overnight. “We also encountered that she and her friends began a some problems in the begin- letter writing campaign to gain the ning, but me and my husband, support of congressmen, business- Edwin, do the marketing and directly manage the business,” men and influential ministers in quipped Mueda, who consid- declaring a national Mother’s Day ers Edwin as the business’ holiday. -
Film History Comes to Life at LVN Museum
Film History Comes to Life at LVN Museum In difficult times such as what our country is facing now, it is comforting that there are still a few places where a Filipino can be proud of his patrimony. Yes, as the title says, we won’t be visiting a beach or a ruin. For a change, travel in the Philippines with a relaxed pace. Come with me to a different place of discovery: the museum. Sprawling lot Nestled on the sprawling lot of LVN studios on P. Tuazon blvd. in Quezon City is the LVN Museum. Once inside the compound, the visitor has to inform the people at the front desk at the administration building of his purpose, or he can call beforehand and have his name registered so the security guard can let him through. There is an entrance fee of P30. The museum is still housed in a one-storey building, but don’t be fooled because there is nothing simple about the facade or the front lawn. Both are colorfully decorated with bayonets, shields, coat of arms and old lighting equipment. It’s a prelude to what a visitor can expect to see inside the museum: more than two decades of film legacy! Before I went to the museum, I read up on the history of LVN from a masteral dissertation of a university professor. I learned that the studio was established in 1938, shortly before the Second World War. The acronym LVN was taken from the first letter of the last names of its partners: Doña Narcisa Buencamino de Leon, Carmen Villongco and Eleuterio Navoa Sr. -
^Gpubltr of Fijo Piplippinos Olongross of Fijo P^Jiltppxnos ^Asay ®Tfy <^Tgl{Foon{I{ Fflongrtss ^^Oconb Regular ^^Osoton
P. S. Res. No. 569 ^gpubltr of fijo piplippinos Olongross of fijo P^jiltppxnos ^asay ®tfy <^tgl{foon{I{ fflongrtss ^^oconb Regular ^^osoton Resolution No. 73 RESOLUTION EXPRESSING PROFOUND SYMPATHY AND SINCERE CONDOLENCES OF THE SENATE OF THE PHILIPPINES ON THE DEATH OF VETERAN ACTRESS CLARITA VILLARBA RIVERA, POPULARLY KNOWN AS MILA DEL SOL, AND HONORING HER CONTRIBUTION IN PHILIPPINE CINEMA Whereas, Clarita Villarba Rivera, more popularly known as Mila del Sol, is a well-respected and veteran Filipino actress considered as the “Queen of the Golden Age of Philippine Cinema” in the 1930s, whose works have brought entertainment, hope and inspiration to generations of Filipinos; Whereas, she passed away on November 10, 2020, from a lingering illness at the age of 97; Whereas, she started working at the age of 12, accompanied and personally assisted her older sisters who entered the showbiz industry as actresses to earn for their family; Whereas, she was eventually discovered and encouraged to venture into acting and to appear in the movies “Nasaan Ka Iro^’ in 1937, and “Ang Maya", “Hatol ng Mataas na Hari’ and “Mariang Alimango” in 1938; Whereas, she landed her first starring role in 1939 in the musical drama “Giliw Ko”, which is the very first film production of the legendary LVN Pictures, whom she was paired with Fernando Poe Sr., and Ely Ramos; Whereas, she made 12 films under the LVN Pictures film studio and became part of the cast of landmark Filipino films like “Ibong Adarna", the first Fihpino movie with a color sequence in 1941, -
First Balfour:Aiming for the Top of the Construction Heap
August 2008 Happy birthday, Mr. Gabby Lopez! August 13 Available online at www.benpres-holdings.com First Balfour: Aiming for the top of the construction heap FIRST Balfour Inc., the engineering Less than a year from now, one of It also became a player in the con- and construction arm of the Lopez its blue-chip projects, the P5.8-billion struction business through a compa- Group, boasts of a body of work—39 St. Luke’s Medical Center in Bonifacio ny called Philippine Engineering and years’ worth—that is as ubiquitous as Global City (see sidebar), will be un- Construction Corporation (PECCO). the newest techie gadget, with each veiled, firmly establishing the company Forays into power transmission, individual project becoming a vital as a construction titan to reckon with. industrial plants and oil refineries soon part of Pinoys’ everyday life. Meralco Securities venture resulted in a new, more fitting name for The company is in the Light Rail In the 1960s, holding company PECO: Engineering and Construction CA upholds Meralco ...p.2 Transit (LRT) system that moves mil- Meralco Securities started venturing Corporation of Asia (ECCO-Asia). lions of Manilans from one end of the into a host of businesses following its In 1997, a 60:40 joint venture be- metro to the other every day; it is in financial and management triumphs tween ECCO-Asia parent FPHC and the bridges, roads and expressways with Meralco. The First Philippine Balfour Beatty of the United King- that connect our cities and towns; Holdings Corp. (FPHC) predecessor, dom gave birth to First Philippine and in the pipes and power plants in quick succession, entered the pipe- Balfour Beatty Inc. -
SOURCES and INFLUENCES As Popular Culture, Film Is a Voracious Medium That Feeds on Material from Traditional Literary Forms
SOURCES AND INFLUENCES As popular culture, film is a voracious medium that feeds on material from traditional literary forms and recent media products to create narratives with which to mesmerize its audience. In the Philippines, movies have been made from plays, novels, folk tales, legends, and even poems, capitalizing on the presumed familiarity of the public with the events, characters and themes of these traditional/popular narrative genres. In the decades following World War II, filmmakers discovered that Filipinos had been growing less and less print-oriented, gravitating instead to entertainment provided by radio and television, and more especially by illustrated popular novels called komiks. Consequently, there has been in recent years a proliferation of films based on narratives created for the mass audience, the same audience on which producers pin their hopes for mega-profits. Both for the serious student of film and the conscientious practitioner of the art, it is instructive to know how film as art and entertainment has related to literature, theater and popular culture in exerting its own brand of witchery on Filipinos it has captivated. The most significant sources of influences on the Filipino film are: significant events in Philippine history; outstanding personalities from all classes both past and present; theater forms popular at a given period, like the komedya, sinakulo, sarswela, drama, and bodabil; folk traditions in oral literature, music, dance, and the visual arts; formal literary tradition, as exemplified by the awit and korido, novels and short stories in Tagalog, English and Spanish; popular komiks, which feature fantasy stories and melodramas; radio, which popularizes soap operas and musical dramas; television, with its long-running drama anthologies, situational comedies, music competitions, and variety shows; and foreign films, which introduce trends and fads followed by local movies. -
Philippine Film: 1897-1960
PHILIPPINE FILM: 1897-1960 Like other foreign art forms transplanted to the Philippines from the West, film adapted to the tastes of a Westernized though still Asiatic temperament; its conventions and genres were reshaped to express the deep-seated aspirations and dreams of a developing nation. Since its beginnings in the early 1900s, film has fascinated Filipinos, its audiences growing larger, and more appreciative and enthusiastic through the years. When the theater network and the studio system were finally in place, it easily became the most popular medium. Its stars were the arbiters of fashion; its stories were the thoughts and dreams of a country. Its influence was felt not only in culture but also in politics, business, and in the development of a national language. The Early Films Motion pictures were introduced in Europe as early as 1877; but it was only in 1895 that film projection became a reality in the Philippines. In that year, Manila had its first electric plant installed with the help of Japanese technicians. The new energy source prompted astute entrepreneurs to import electrical gadgets. In 1896 La Estrella del Norte ordered from France a 60 millimeters Gaumont Chronophotographe with sound amplifiers for a businessman, a Señor Pertierra. Pertierra presented a program which was billed as the Espetaculo Cientifico de Pertierra (Pertierra’s Scientific Show) on 8 January 1897 in his salon at No. 12 Escolta. However, this turned out to be merely a presentation of stills and chronophotographs. The first real cinematograph was brought in by two Swiss entrepreneurs, Leibman and Peritz. On 18 September 1897 they introduced the Lumiere cinematograph along with several Lumiere films. -
Philippine Cinema and the Challenge of Sustainable Preservation
UC Irvine UC Irvine Previously Published Works Title Archival Fragility: Philippine Cinema and the Challenge of Sustainable Preservation Permalink https://escholarship.org/uc/item/47t0f9r0 Journal Kyoto Center for Southeast Asian Studies Newsletter, Spring(2013) Author Lim, Bliss Cua Publication Date 2013 eScholarship.org Powered by the California Digital Library University of California No.67 Spring 2013 Front Cover: Canopy of the tropical cloud forest in Peninsular Malaysia. Photo Credit: Ito Masayuki Contents Editorial 4 Understanding Material Cycling Related to Human Activities in Tropical Areas —Changes in Quality of Water, Air, and Soil with Land Use Change— Itoh Masayuki 5 “Cotton Biomass Society” —Learning lessons from Uzbekistan— Kozan Osamu 8 Jakarta’s Local Politics and Its Institutional Lack of Democracy Okamoto Masaaki 11 The Lao Inter-generational Contract Grant Evans 14 Archival Fragility: Philippine Cinema and the Challenge of Sustainable Preservation Bliss Cua Lim 18 Exploring Southeast Asian Studies Programs and Scholarly Treasures in Japanese Institutions: A Preliminary Fieldwork Survey Virgina Jing-yi Shih 22 36th Southeast Asian Seminar 2012 —Cities and Cultures in Southeast Asia— Mario Lopez 26 Publications 28 Fellowships 29 Southeast Asian Studies 30 Visual Documentary Project Announcement 31 3 Archival Fragility: Philippine Cinema and the Challenge of Sustainable Preservation Bliss Cua Lim* Visiting Research Fellow CSEAS he urgency of Philippine cinema’s archival situation is well- SEA neighbors, the Philippines, an early pioneer of the regional Trecognized: it is estimated that only 37% of domestically- archive movement in Southeast Asia, would become a late produced films survive (3,000 titles from approximately 8,000 implementer of the archive dream, waiting another 15 years works) since the introduction of the cinematograph in 1897. -
The Filipino Film Industry 23 NICANOR G
EAST-WEST FILM JOURNAL VOLUME 6· NUMBER 2 SPECIAL ISSUE ON SOUTHEAST ASIAN CINEMA Cinema, Nation, and Culture in Southeast Asia: Enframing a Relationship I WIMAL DISSANAYAKE The Filipino Film Industry 23 NICANOR G. TIONGSON The Rise and Fall of the Film Industry in Thailand, 1897-1992 BOONRAK BOONYAKETMALA The Rise of the Indonesian Film Industry 99 SALIM SAID Asia and the Global Film Industry II6 ELIZABETH B. BUCK Book Reviews 134 JULY 1992 The East-West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Cinema, Nation, and Culture in Southeast Asia: Enframing a Relationship WIMAL DISSANAYAKE THIS PAPER consists of four interrelated parts. In the first, I wish to dis cuss the implications of cinema as a specific cultural practice. The second part is devoted to an examination of the notion of culture as it impinges on cinematic practice. The third part seeks to examine the centrality of the notion of ideology as it relates to cinema as a signifying practice, while the fourth is devoted to brief analysis of some films produced in ASEAN in the light of the earlier discussions. -
Catriona Gray Ambassador for the Arts Official Publication of the National Commission for Culture and the Arts NCCA BOARD of COMMISSIONERS
Volume XXIII • Number 1 • al Workers • ISSN 0119-5948 Catriona Gray Ambassador for the Arts Official Publication of the National Commission for Culture and the Arts NCCA BOARD OF COMMISSIONERS Arsenio “Nick” J. Lizaso Chairman, NCCA; and President, Cultural Center of the Philippines Vol.ume XXIII, Number 1 Sherwin T. Gatchalian Chairman, Senate Committee on Education, Arts, and Culture, Senate of the Philippines January-March 2020 Maria Lourdes Nancy S. Binay (Alternate) ISSN 0119-5948 Senate of the Philippines Roman T. Romulo The agung is a knobbed metal gong of the Philippines used in various communal Chairman, House Committee on Basic Education and Culture, House of Representatives rituals. Suspended in the air by rope or metal chains, the musical instrument is also Annalyn M. Sevilla employed by some indigenous groups as a means to announce community events, and Undersecretary for Finance-Budget and Performance Monitoring, Department of Education as an indicator of the passage of time. Agung is published quarterly by the National Commission for Culture and the Arts. Edwin R. Enrile Undersecretary for Legal and Special Concerns, Department of Tourism Roberto P. Alabado III (Alternate) Assistant Secretary, Department of Tourism Rene Sanchez Napeñas Editor-in-Chief Rene R. Escalante Chairman, National Historical Commission of the Philippines Roel Hoang Manipon Executive Editor Jeremy R. Barns Director-General, National Museum of the Philippines Mervin Concepcion Vergara Cesar Gilbert Q. Adriano Art Director Director IV, National Library of the Philippines Roezielle Joy Iglesia Arthur P. Casanova Chairman, Komisyon sa Wikang Filipino Writer Victorino Mapa Manalo Faith L. Yangyang Executive Director, National Archives of the Philippines Graphic Artist and Photographer Rolando B. -
Pelikulang Komiks: Towards a Theory of Filipino Film Adaptation
vi PELIKULANG KOMIKS: TOWARDS A THEORY OF FILIPINO FILM ADAPTATION JOYCE L. ARRIOLA A Dissertation Submitted to the COLLEGE OF MASS COMMUNICATION University of the Philippines Diliman for the degree of DOCTOR OF PHILOSOPHY IN COMMUNICATION April 2013 ABSTRACT vii Arriola, J. L. (2013). Pelikulang Komiks: Towards a Theory of Filipino Film Adaptation. Unpublished Doctoral Dissertation. University of the Philippines College of Mass Communication. This dissertation built and proposed an emergent Filipino komiks-to-film adaptation theory in the 1950s. It employed the grounded theory approach to unveil data that led to a contextualized, localized or indigenized study of adaptation. An inventory of extant texts led to the selection of four (4) films representing Filipinized genres such as the korido film, fantasy-adventure, comedy and historical film. The semiotic analysis drew from the approaches of Christian Metz, Raymond Bellour and Rick Altman. Contemporary adaptation criticism was also employed to explain constructs specific to Filipino culture. A social film history based on unstructured interviews with ten (10) key informants provided the context to the texts analyzed. This was supplemented by periodicals published in the fifties. The meta-issues of the theory addressed the state of the archives and current discourse. The concepts and assumptions about komiks-to-film adaptation supplemented the framework of the proposed theory that shall be called a vernacular and hybrid theory of Filipino film adaptation. Key words: source text, semiotics