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“The fight for artistic creativity vs Hegemonies lasting influence on the public”
Filipinos are the most prominent critic of themselves. Whether they are
homegrown or foreign-based, Filipino pride takes a toll on the denigration of
domestically produced art. Ironically, homegrown Filipinos are the Philippine's
most prominent critic. However, these criticisms tend to be hyperbolized and is
merely a representation of how Filipinos overtly reject art that does not contain
the recurring themes of mainstream art. Through Datuin's book entitled
"Critical categories as Social categories," his concepts of art when applied in
film, seen in domestic pieces of work, establishes a sense of cultural identity
which is the persistent vocalization on the importance of a homogeneous
production of film showing traditional Filipino values.
The cultural identity that is established by film, whether it be considered
overly romanticizing or patriotic, shows the need for a Filipino centered
artwork. Seen in Fernando Zialcita's book "An Identity under Question," one
chapter, in particular, the "A Demonized Influenced" examines the prevailing
notion of Filipinos playing the blame game. Because of this notion, Zialcita
mentions how Filipinos should look at its culturally diverse ethnicity in a more
positive manner instead of disregarding and labeling products with criticism
because of in western influences.
Moreover, the notion of a demonized influence pushes away art and
filmmakers who deviate from the norm and create something unique. Large
corporations such as Star Cinema, ABS CBN, GMA, and Viva Films regularly
produce films for the masses that indirectly create a false perception of indie
films being irrelevant and mainstream media as authentic Filipino films.
Patrick Perez Art Appreciation MM
Dr. Jerry Respeto 12/11/19
Because of the disparity between indie films and mainstream media, there are
implications about limitations and questionable actions regarding how the film
industry has resonated with the Filipino community.
The film industry, aside from music, is one of the most appealing forms
of art to a generalized audience. Thus, the responsibility of a director is
overbearing. Consequently, the responsibility can be misused to create works of
art for monetary purposes. Philippine mainstream media overtly produces
entertainment that is redundant and normative to cater to the masses, which is
a regular theme for mass-oriented films, present in both domestic and
international, that is falsely seen as "true" Filipino valued films. Similarly to how
Zialcita mentions the over-romanticized label of indigenous and authentic, it
parallels to how mass-produced media is overly romanticized by the public and
indie films seen as products of irrelevance.
Domestically, successful films in mainstream media are those that belong
to the drama and rom-com (romantic comedy) genre, movies that contain
quirky lines, an unbreakable love that ceases to overcome any obstacles, and
most occasions, a happy ending. Although given that these movies are meant
for the masses, such as "Hello, Love, Goodbye" and "Kita Kita," the effect it
has on the masses can not be questioned, as it presents appealing themes such
as escapism.
On the other hand, independently produced films such as "Women in
the Weeping River" and "Sunday Beauty Queen" are victimized to the
ever-growing problem of low funding, lacking support, and exposure as they do
not contain the themes that constitute a blockbuster.
Patrick Perez Art Appreciation MM
Dr. Jerry Respeto 12/11/19
of its label of an indie movie, and the persistence to vocalize for a film that is
conventional to be successful, it does not get the recognition it deserves.
The disparity between indie films and mainstream media is caused by the
relation between art and the identity established. With the need for
conventional films to portray certain values in a light-hearted manner, it limits
artistic creativity as it implies the industries need to maintain a consistent
identity. However, the identity, as to what Zialcita states, is demonizing.
Filipinos disregard the non-typical conventions of film and romanticize those
that are incessantly shown in cinemas. Although mainstream media is
redundant, intentionally so, it provides a delightful experience for Filipinos to
laugh and feel loved. Therefore, it can not be argued for its success and effects.
Nevertheless, instead, it is the treatment of other non-mainstream films
that alarmingly so reflects upon Filipinos values. The prevalence of mainstream
themes cements the identity as somewhat traditional and individualistic, despite
what Zialcita says about individualistic and Filipinos. It highlights the
imperative of Filipinos to support locally made movies, but doing so can also
be done with analyzing artistic features that independent films have that
mainstream film does not. With that being said, independent films need to be
integrated into this identity as it, in itself, is a unique medium of art that is
boundless with the artistic flexibility directors are given as independent
filmmakers. Rather than having to limit themselves to the conventions of
society, these indie films establish their own identity through art, which is also a
representation of Filipinos and the hardships and beauties of being citizens of
the country.
Patrick Perez Art Appreciation MM
Dr. Jerry Respeto 12/11/19
Sources:
1. Malasig, J. (2019, August 28). Here's what's wrong with Philippine
cinema, according to Erik Matti. Retrieved from
http://www.interaksyon.com/hobbies-interests/2019/08/28/154110/p
hilippine-cinema-100th-anniversary-erik-matti/.
2. Rappler.com. (n.d.). Who is the Filipino? Cinema, criticism, and
representation. Retrieved from
https://www.rappler.com/entertainment/movies/242873-podcast-who-
is-the-filipino-cinema-criticism-with-richard-bolisay.
3. Satirizing the Filipino film genres. (n.d.). Retrieved from
https://www.philstar.com/entertainment/2016/01/08/1540580/satirizi
ng-filipino-film-genres.
4. Charm, N. (2019, March 1). Analyzing the ills of Philippine Cinema.
Retrieved December 11, 2019, from
https://www.bworldonline.com/analyzing-the-ills-of-philippine-cinema