War
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Transcript of War
Rogelio de la Rosa Leopoldo Salcedo Rosa del Rosario Mira del Sol Rosario Moreno Carlos Padilla Jose Padilla, Jr. Fernando Poe, Lucita Goyena
Actors and Actresses
Tatlong Maria
Based on an novel by Jose Esperanza Cruz
Starred by Carmen Rosales, Jose Padilla, Jr., Norma Blancaflor, Liwayway Arceo and Fernando Poe, Sr.
Only English movie allowed Showed the Americans and British as
villains in international trafficking with dope
The Opium War
Jose Nepomuceno
Assigned by the Path News to film Japanese activities
Hand-operated Eye-Mo camera
Films shot were transported to the American authorities by submarine
Member of an underground movement Officer in the USAFFE, Gold Cross
medal awardee
Was a guerilla in Manila and the suburbs
Fernando Poe, Sr.
Gregorio Ticman
Was tortured by the Japanese
Movie stars, directors, technicians and the bit players and extras turned to the stage2nd Golden Age of Vaudeville
Bert Leroy
Provided the Japanese soldiers’
uniforms, weapons, sound effects, make up
Were discovered by Jose Nepumuceno “country’s top special effects artist”
Cry Freedom Sunset Over Corregidor Isang Dakot na Bigas
Alfonso Torrente
Hollywood
Huk Blackburn’s Gurerillas Marco Polo
Alfonso Torrente
• December 8, 1941 Japanese December 8, 1941 Japanese
bombs fell on Intramurosbombs fell on Intramuros
•Some movie houses closed but Some movie houses closed but
many opted to stay openmany opted to stay open
•Manila was declared an open cityManila was declared an open city
•Japanese moved in on January 2, Japanese moved in on January 2,
1942 1942
•Movie companies were allowed to Movie companies were allowed to
operate by the Japanese high command operate by the Japanese high command
under the supervision of the Central under the supervision of the Central
Booking ExchangeBooking Exchange
•Mostly reruns of unpolitical Hollywood Mostly reruns of unpolitical Hollywood
and Tagalog filmsand Tagalog films
•1943- German and Japanese feature 1943- German and Japanese feature
films as well as documentaries were films as well as documentaries were
brought inbrought in
-“The Sky is Blue”,”Currents of Youth”, -“The Sky is Blue”,”Currents of Youth”,
“Women of Japan”“Women of Japan”
•There were several movies nearing completion just before There were several movies nearing completion just before
the war but whose productions were halted. These were the war but whose productions were halted. These were
shown either completed or unfinishedshown either completed or unfinished
-“Caviteno”,”Anong Ganda Mo”, “Caballero”, “Nina, Bonita”, -“Caviteno”,”Anong Ganda Mo”, “Caballero”, “Nina, Bonita”,
“Princesa Urduja”,”Landas na Ginto”“Princesa Urduja”,”Landas na Ginto”
•Two films were produced: LVN’s “Tiya Juana” and “Prinsipe Two films were produced: LVN’s “Tiya Juana” and “Prinsipe
Tenoso”Tenoso”
•Another film was shown right after the war: Sampaguita’s Another film was shown right after the war: Sampaguita’s
“Ang Tagala”“Ang Tagala”
•Japanese demanded that movies, stage plays and Japanese demanded that movies, stage plays and
vaudeville carried some form of Japanese propagandavaudeville carried some form of Japanese propaganda
•Most movies were transferred to the stageMost movies were transferred to the stage
•This was “the golden age of Philippine theater” This was “the golden age of Philippine theater”
according to Lamberto Avellanaaccording to Lamberto Avellana
•Some of the directors who worked on plays:Some of the directors who worked on plays:
Lamberto Avellana, Gerardo De Leon, Manuel Conde, Lamberto Avellana, Gerardo De Leon, Manuel Conde,
Ramon Estella, Manuel Sillos, Tor Villano and Gregorio Ramon Estella, Manuel Sillos, Tor Villano and Gregorio
FernandezFernandez
Some of the plays eventually got produced as movies in the Some of the plays eventually got produced as movies in the
postwar era:postwar era:
“Limpia Bota” story of Ernesto Bohol’s life.“Limpia Bota” story of Ernesto Bohol’s life.
“Ikaw kasi” by Manuel Conde“Ikaw kasi” by Manuel Conde
December 21, 1942-the Japanese decided to centralize the December 21, 1942-the Japanese decided to centralize the
distribution and production of films in one agency: distribution and production of films in one agency: Eiga Eiga
HaikyushaHaikyusha
-Responsible for the importation of foreign films, mostly -Responsible for the importation of foreign films, mostly
Japanese and German and later, Japanese propaganda for local Japanese and German and later, Japanese propaganda for local
consumption.consumption.
The agency was launched with the screening of The agency was launched with the screening of “Toyo no “Toyo no
Gaika” Gaika” (documentary)(documentary)
-“United States Routed from the Philippines”, “Stars and stripes -“United States Routed from the Philippines”, “Stars and stripes
downed forever in East Asia”,” A war epic which will live long in downed forever in East Asia”,” A war epic which will live long in
your memory” were some of the film’s claims.your memory” were some of the film’s claims.
•It was the Japanese policy to push Greater East Asia Co-It was the Japanese policy to push Greater East Asia Co-
Prosperity SphereProsperity Sphere
-Film was used as an instrument-Film was used as an instrument
-The Japanese had three aims:-The Japanese had three aims:
-To unmask the Americans as real enemies-To unmask the Americans as real enemies
-To emphasize Japan’s role as the leader of Asia-To emphasize Japan’s role as the leader of Asia
-To recover the native character lost due to years of -To recover the native character lost due to years of
Occidental Occidental colonization colonization
•The Japanese propaganda corps planned a major film to The Japanese propaganda corps planned a major film to
push the three goalspush the three goals
-“Ano Hatte O Utte” or “The Dawn of Freedom” (“Liwayway -“Ano Hatte O Utte” or “The Dawn of Freedom” (“Liwayway
ng Kalayaan”)ng Kalayaan”)
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• HEROISM / BRAVERY OF FILIPINO SOLDIER• WAR
First films were about…
20 out of 34 films
about bravery of fighting troops
18
19
“Orasang Ginto”
The first Post-war Filipino movie or the first movie to come out after World War II
20
PATRIOTISM?
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• Discord and criminal activity?
• Or Dearth of imagination?
(T.D. Agcaoili in “Literary Song Movie”)
22
Restoration of the normal and peaceful deportments and thoughts of people– Foster friendliness and
goodwill– Emphasize the virtues and
beauty of life
(Jose Crisostomo in “Literary Song”)
Films shout be about…
23
EUPHORIA
Americans like Deities
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25
•Heroism of Filipino guerrillas•Atrocities inflicted on guerrillas and civilians– “Intramuros (The Rape of a
City)”•Heroism of media practitioners
Euphoria over the end of war and victory over the Japanese
“hanggang pier
lamang” Jeep girl
26
27
“So Long America” “Victory Joe” “Honeymoon” “GI Fever (Ay Kano)” “Magkaibang Lahi”
Also euphoria over the departure of Americans
28
“Sa Tokyo Ikinasal (1949)”
Euphoria over the Return of troops from
Japan
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AMNESIA
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• Memory blackouts• Exchanges of Identities• Emotional traumas
“May umaga Pang Darating (1954)”“Isumpa Mo Giliw (1947)”“Isang Libong Pisong Kagandahan
(1947)”“Ulilang Bituin” (1956)
Amnesia
COLLABORATION
Collaborator
depicted in the darkest of colors;despicable and loathsome;villain deserving his most
dastardly fate
Joseph Cordova
depicts collaborators in many of his movies
(particularly in "Hantik")
Eddie Romero
presented collaboration with respect to its complexity
and with a modicum of sympathy(example is "Apoy sa Langit")
Examples of Movies Showing Collaboration
Hantik
(Joseph Cordova)
Apoy sa Langit
(Eddie Romero)
Walang Kamatayan
(Tor Villano)
CORRUPTION
Corruption
non-payment of back pay (guerrilla benefits)
people realized that corruption
had settled in the new government;
guerrillas maimed in the war and pinned hopes for a new life
Examples of Movies Showing Corruption
Back pay
Huk sa Bagong Pamumuhay
REBELLION
HUKBALAHAP came to national prominence;
movies pounced on the new material but censors stopped it;Luis Nolasco’s "Luis Taruc Ang
Supremo” was halted in its early shooting phase
Films Showing Post-War Agrarian Problems
Ako Raw ay Huk
Labi ng Bataan
Baril o Araro
Bisig ng Manggagawa
DISILLUSIONMENT
rancour among the guerrillas
Palaboy ng Tadhana
Anak Dalita
Lupang Pangako
CONCLUSION
The image of the guerrilla returning to his hometown and
experiencing hardships gripped filmmakers and audiences alike.
Film has unwittingly captured the tragedy of the post-war era,
the festering decay of morality, the growing corruption, the amnesia of history.
End
Quirino, J. (1983). History of the Philippine cinema. Quezon City: Phoenix Pub.
Sources