Basilio, Alyssa Bernadette A.

GED0106-SEC 51

Philippine theaters and identity: An analysis on the influence of films in shaping

the culture and identity of the Filipino nation

Films has evolved over time and has been considered as one of the popular art forms in
any country. This art form has been introduced to the Philippines in 1897 wherein the
variety of films only ranged from silent movies to talkies; black and white colors were the
only available colors at the time. Film has been considered as an art form wherein it
reflects the culture and beliefs of the community it caters and helps in shaping their
consciousness and perspectives; this includes different types of films such as
documentaries, animation, experimental or alternative films, and other sorts of films are
included [CITATION Dor18 \l 1033 ]. Ever since the film industry has been introduced in our
country, a lot of international movies was loved by our fellow Filipinos, giving little to
nothing attention for the independent or indie films in our country.

Now, what’s the reason why a lot of directors are producing indie films in our country?
The reason is that independent filmmaking has become the spirit of Philippine cinema.
In recent years, as film festivals, contests, and distribution platforms such as
Cinemalaya and Cinema One have inspired new maverick filmmakers, independent
films have become associated with original material and viewpoints for many Filipinos.
Although the Philippine indie film industry has gone a long way since the Marcos era,
when truthful depictions of Filipino culture in the arts were not deemed "beautiful" by the
dictatorship, government assistance is still insufficient to adequately assist independent
filmmakers. Independent or indie films are sometimes known as "alternative cinema,"
and they include short films, documentaries, experimental films, and cartoons that are
created without the capitalization that is common in commercial films. They are low-
budget films created by smaller production firms and are not supported by the
businesses [ CITATION Gut12 \l 1033 ] . No one should be surprised by the continued
deterioration of the Philippines' once-thriving film industry. For a decade, insiders and
onlookers have warned of the film industry's oncoming demise, but no one has done
anything to prevent it. Not the government, which continues to levy exorbitant taxes on
the business while providing little in return. Not the producers, who continue to rehash
old film formulae in the hope of regaining the audience's affection, which they have
irreversibly lost. Certainly not the most famous actors in Filipino film. Instead of
attempting to save the business to which they owe so much, they have escaped en
masse into another dream world: politics, where their popularity outweighs their more
evident flaws [ CITATION Zaf22 \l 1033 ].

Ever since the new media technology has been introduced to the country, it made great
changes not only for the economy of the country but also the evolution of media in the
Philippines. Although the Philippines still has a long way to go in terms of technological
advancements, and the influence of new media, notably video technology, on the film
business does not imply a major takeover, it has made first inroads into the sector. At
least one big motion picture has chosen to go into video production. Film schools,
burdened with the costs of film cameras, film material, and film processing, have
allowed, if not encouraged, students to utilize the more affordable and accessible video
camera and cassette for class assignments. Short film festivals are organized in
conjunction with video art displays [ CITATION Ver88 \l 1033 ] . This paper has two
objectives. The first one is it aims to provide a concise background of the art of film in
the Philippines and how it has influenced its culture and identity. And lastly, to identify
the effects of World War II and Martial Law in the film industry of the Philippines.

Tagalog films provide moviegoers with a much-needed getaway into a realm of action
and beauty, where pain has purpose and injustices are righted. Most fans regard the
film business as a means of escaping the weight of poverty. Because the concept of
beauty in the Philippines is characterized as western features with a light complexion,
many cinema stars were recruited from among the impoverished mestizos in the past.
However, the escape provided by Tagalog movies is just momentary, and control is
lost. It's all a ruse. The Filipinos are often described as a people in search of
themselves. Spanish conquerors placed foreign ideals and religious traditions on them,
robbing them of their developing national identity. American conquerors brought with
them a market culture that only dichotomized the national psyche in the twentieth
century. This cultural dilemma is reflected in today's Philippine movies. The self is seen
as a mash-up of inherited ideals that Filipinos cannot yet claim as their own. It's no
surprise, however, that their story structures are frequently fragmentary and episodic
rather than vehicles for clearly delivered stories. Over the last two decades, a new
Philippine film has struggled to develop, presenting a more truthful portrayal of
Philippine society and, in the process, beginning the quest for the lost self.

To sum it all up, I believe that culture gives such a diverse range of elements for cinema
storytelling. When such resources are adopted by indie filmmakers, the outcome is
more than just a culturally nuanced depiction of a piece of the human experience. The
film industry also manages to make statements on the nature of culture, whether
intentionally or unintentionally. Indie films also had a high level of familiarity with cutting-
edge anthropological theories on culture. Rather of portraying culture through obsolete
frameworks such as structural functionalism, these films also reflected facts that testify
to culture's dynamic and situational nature. Rather than depicting stable and cohesive
wholes of social set-ups populated by individuals in peaceful connection with one
another, the indie tales worried with tension-filled structures and trajectories.
References
Dorsch, J. (2018, December 25). Reel Rundown. Retrieved from Reel Rundown:
https://reelrundown.com/film-industry/filipino-movies

Gutierrez III, J. (2012, August). Academia.Edu. Retrieved from Academia.Edu:

https://www.academia.edu/8972422/Filipino_Indie_by_Way_of_Southeast_Asian_Independent
_Cinema

Vertido, C. (1988, January 26-28). DR- NTU. Retrieved from DR-NTU:

https://hdl.handle.net/10356/86445

Zafra, J. (2022, April 22nd-30th). Far East Film Festival 24. Retrieved from Far East Film Festival 24:
https://www.fareastfilm.com/eng/archive/catalogue/2007/il-declino-e-la-caduta-dellindustria-
cinematografica-delle-filippine/?IDLYT=31711