HISTORY

OF INTRODUCTION
         The youngest of the Philippine arts, film has
evolved to become the most popular of all the art forms.
Introduced only in 1897, films have ranged from silent

PHILIPPI movies to talkies; black and white to color. Outpacing

its predecessors by gaining public acceptance, from one
end of the country to the other, its viewers come from

NE
all walks of life. Nationwide, there are more than 1000
movie theaters. Early in the 1980s, it was estimated in
Metro Manila alone, there were around 2.5 million
moviegoers. 

CINEMA
JANUARY 1, 1897
THE FIRST FILM SCREENINGS IN THE
PHILIPPINES TOOK PLACE ON THIS
DAY. THE TITLE OF THE FILMS
SHOWN WERE UN HOMME AU
CHAPEAU (MAN WITH A HAT), UNE
SCENE DE DANSE JAPONAISE
(SCENE FROM A JAPANESE DANCE),
LES BOXERS (THE BOXERS), AND LA
PLACE DE L’OPERA (THE PLACE
L’OPERA).
THE FILMS WERE PROJECTED USING
THE 60MM GAUMONT CHRONO-
PHOTOGRAPH PROJECTOR

AT THE SALON DE PERTIERRA AT NO.

12 ESCOLTA, MANILA .
60mm Gaumont 1897
Chrono- In the same year, the
photograph
Lumiere Cinematograph
Projector
was first introduced in the
Philippines by a Spanish
soldier named Antonio
Ramos.

1.Panorama de Manila
(ManilaLandscape)
2.Fiesta de
Quiapo(QuiapoFiesta)
3.Puente de
Espana(Bridge of Spain)
4.Escenas
Callejeras(Street
Scenes)
THE 1930S TO 1940S

⭕Filipinos started making movies in 1919. However, it would be important to

know that the film industry in the Philippines began through the initiative of
foreign entrepreneurs.
⭕ Two Swiss entrepreneurs introduced film shows in Manila with documentary
films showing recent events and natural calamities in Europe. 
⭕They failed to hold the audiences’ attention because of their novelty and the fact
that they were about foreigners.
⭕Two American entrepreneurs made a film in 1912 about Jose Rizal’s execution
This heralded the making of the first Filipino film.
JULIAN
MANANSALA
“FATHER OF THE NATIONALISTIC FILM” 📌 1930 Patria Amore
📌 1930 Dimasalang
📌 1932 Ang Kilabot ng mga
Tulisan
📌 Pag-ibig ng Kadete
📌 1939 Mutya ng Katipunan
📌 1940 Tawag ng Bayan
JOSE NEPOMUCENO
BECAME KNOWN AS
THE FATHER OF
PHILIPPINNE CINEMA.

JOSE NEPOMUCENO’S
●DALAGANG BUKID (COUNTRY
MAIDEN) WAS THE FIRST
FILIPINO (SILENT) FILM IN THE
PHILIPPINES.

●PUNYAL NA GUINTO (GOLDEN

DAGGER) WAS CREDITED AS
THE VERY FIRST LOCALLY
MADE TALKIE (FILM WITH
SOUND).
 WARTIME FILMS AND THE
EFFECT ON PHILIPPINE FILMS
⭕The Pacific War brought havoc to the industry in 1941.

⭕The Japanese invasion put a halt to film activity when the invaders
commandeered precious film equipment for their own propaganda needs.
⭕The Japanese brought their own films to show to Filipino audiences but failed
to appeal to audiences

⭕Later on, Japanese hired several local filmmakers to make propaganda pictures
for them. One of these filmmakers was Gerardo de Leon.
Garrison 13 (1946),  Dugo ng Bayan (The Country’s Blood, 1946), Walang Kamatayan (Deathless,
1946), and Guerilyera (1946) 
THE 1950S TO 1970S.
1950S THE POST  WAR YEARS
⭕ GOLDEN AGE OF THE FILIPINO FILM 1950S

⭕FILIPINO FILMS GARNERED LOCAL AND INTERNATIONAL AWARDS.FIRST GOLDEN AGE OF

PHILIPPINE CINEMA

⭕BIG FOUR STUDIOS WERE AT THE HEIGHT OF FILMMAKING.

-LVN PICTURE S
-SAMPAGUITA PICTURES
-PREMIERE PRODUCTIONS
-LEBRAN INTERNATIONAL

⭕ ON THE SAME YEAR FOUR BIG STUDIOS CLOSED BECAUSE OF LABOR-MANAGEMENT

CONFLICTS.
⭕STORIES WERE MOSTLY ADAPTATIONS FROM KOMIKS.
SEVERAL PHILIPPINE FILMS
THAT STOOD OUT IN THIS
PARTICULAR ERA WERE
GERARDO DE LEON’S

 Noli Me Tangere (Touch me Not, 1961)

 El Filibusterismo (Subversion, 1962).
 Huwag mo Akong Limutin (Never Forget
Me , 1960)
 Kadenang Putik (Chain of Mud, 1960).
FILMS DURING MARTIAL
LAW
1970s
 Martial Law was implemented by Pres. Ferdinand Marcos, which ultimately suppressed freedom
of expression
 Pres. Marcos put up Board of Censors of Motion Pictures(BCMP) which stipulated submission of
final script prior to filmmaking.
 The 1970s and 80s was the era known as THE SECOND GOLDEN AGE OF PHILIPPINE
MOVIES, the age of censorship ironically pushed the making of quality and very emotional films as
the growing social unrest fueled freedom of expression through the arts.
 Ironically, films became even more violent and sexual, in spite ofgovernment censorship
 Proliferation of “bomba” and “wet look” movies, and as the new genre continued, the term
“bold” films was coined: “Uhaw” (1970), "Nympha" (1971), "Ang Pinakamagandang Haypo saBalat
ng Lupa" (1974)
 Bomba komiks were suppressed when President Ferdinand Marcos declared martial law in 1972.
 FILMS AFTER MARTIAL LAW
 It can be justified that immediately after  Films such as
Marcos escaped to Hawaii, films  Lino Brocka’s Bayan Ko: Kapit sa
portraying the Philippine setting have Patalim (My Country: Gripping the
had a serious bias against the former Knife’s Edge, 1985)
dictator. And even while he was in  Marilou Diaz-Abaya’s Karnal (1984)
power, the militancy of filmmakers  Mike de Leon’s Sister Stella L. (1984),
opposing the Martial Law government
especially after the assassination of
Ninoy Aquino in 1983, accounts for the
defiant stance of a number of films
made in the closing years of the Marcos
rule.