 CINEMA

-The cinema of the Philippines (Filipino: Pelikulang Pilipino or Sine

Pilipino) began with the introduction of the first moving pictures to the
country on January 1, 1897 at the Salón de Pertierra in Manila.
-The following year, local scenes were shot on film for the first time by a
Spaniard, Antonio Ramos, using the Lumiere Cinematograph
-While most early filmmakers and producers in the country were mostly
wealthy enterprising foreigners and expatriates, on September 12,
1919, Dalagang Bukid (Country Maiden), a movie based on a popular
musical play, was the first movie made and shown by Filipino
filmmaker José Nepomuceno.
Salon de Pertierra, found in Escolta Manila, was the first movie-theater
house in the Philippines, established in March 1896.
The Lumiere Brothers – Auguste
Marie Louis Nicolas (19 October
1862 – 10 April 1954) and Louis Jean
(5 October 1864 – 7 June 1948)
were among the first filmmakers in
history. They patented an improved
cinematograph, which in contrast
to Thomas Edison’s “peepshow”
kinetoscope allowed simultaneous
viewing by multiple parties.
Kinetoscope

an early motion-picture device

in which the images were
viewed through a peephole.
-Lamberto V. Avellana, director for theater and film, has the distinction of being
called “The Boy Wonder of Philippine Movies” as early as 1939.
-He was the first to use the motion picture camera to establish a point-of-view, a
move that revolutionized the techniques of film narration.
-Avellana, who at 20 portrayed Joan of Arc in time for Ateneo’s diamond jubilee,
initially set out to establish a Filipino theater.
-In his first film Sakay, Avellana demonstrated a kind of visual rhythm that
established a new filmic language.
-Sakay was declared the best picture of 1939 by critics and journalists alike and
set the tone for Avellana’s career in film that would be capped by such
distinctive achievements as the Grand Prix at the Asian Film Festival in Hong Kong
for Anak Dalita (1956); Best Director of Asia award in Tokyo for Badjao, among
others.
-Avellana was also the first filmmaker to have his film Kandelerong Pilak shown at
the Cannes International Film Festival. Among the films he directed for worldwide
release were Sergeant Hasan (1967), Destination Vietnam(1969), and The Evil
Within (1970).
National Artist for Cinema (2009)
(October 9, 1915 – August 11, 1985)
-Born on October 9, 1915 and christened Manuel Pabustan Urbano, Manuel
Conde grew up and studied in Daet, Camarines Norte.
-Through the more than forty films he created from 1940 to 1963, He
contributed in no small measure to the indigenization of the cinema,
specifically: by assigning it a history and culture of its own; by revitalizing folk
culture with urgent issues, fresh themes and new techniques; by depicting
and critiquing Filipino customs, values and traditions according to the needs
of the present; by employing and at the same time innovating on the
traditional cinematic genres of his time; and by opening the local cinema
to the world.
-Later, when these films were bought by foreign distributors, they were
exhibited in all parts of the cinematic world of the time, establishing the
presence of the Filipino cinema in the eyes of that world.
-Major works: Ibong Adarna (1941), Si Juan Tamad (1947), Siete Infantes de
Lara (1950), Genghis Khan(1950), Ikaw Kasi! (1955) Juan Tamad Goes To
Congress (1959).
National Artist for Film and Broadcast
Arts (1997)
(April 3, 1939 – May 22, 1991)
-Catalino “Lino” Ortiz Brocka, director for film and broadcast arts,
espoused the term “freedom of expression” in the Philippine Constitution.
-Brocka took his social activist spirit to the screen leaving behind 66 films
which breathed life and hope for the marginalized sectors of society —
slum-dwellers, prostitutes, construction workers, etc.
-He also directed for theater with equal zeal and served in organizations
that offer alternative visions, like the Philippine Educational Theater
Association (PETA) and the Concerned Artists of the Philippines (CAP).
-At the same time, he garnered awards and recognition from institutions
like the CCP, FAMAS, TOYM, and Cannes Film Festival.
Lino Brocka has left behind his masterpieces, bequeathing to our country
a heritage of cinematic harvest; a bounty of stunning images,
memorable conversations that speak volumes on love, betrayal and
redemption, pestilence and plenty all pointing towards the recovery and
rediscovery of our nation.
To name a few, Brocka’s films include the following: “Santiago” (1970),
“Wanted: Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom”
(1971), “Tinimbang Ka Ngunit Kulang” (1974), “Maynila: Sa Kuko ng
Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona” (1980),
“Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa Diyos”
(1991).
National Artist for Cinema (2001)
(September 30, 1938 – June 2, 1996)
-Ishmael Bernal was a filmmaker of the first order and one of the very few
who can be truly called a maestro. Critics have hailed him as “the genius
of Philippine cinema.”
-He is recognized as a director of films that serve as social commentaries
and bold reflections on the existing realities of the struggle of the Filipino.
His art extends beyond the confines of aesthetics.
-By polishing its visuals, or innovating in the medium, he manages to send
his message across: to fight the censors, free the artists, give justice to the
oppressed, and enlighten as well as entertain the audience.
-He was recognized as the Director of the Decade of the 1970s by the
Catholic Mass Media Awards; four-time Best Director by the Urian Awards
(1989, 1985, 1983, and 1977); and given the ASEAN Cultural Award in
Communication Arts in 1993.
-Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken
Marriage” (1983), “Himala” (1982), “City After Dark” (1980), and “Nunal sa
Tubig” (1976).
 National Artist for Cinema (2006)
(August 20, 1939 – December 14, 2004)
-Ronald Allan K. Poe, popularly known as Fernando Poe, Jr., was a
cultural icon of tremendous audience impact and cinema artist and
craftsman–as actor, director, writer and producer.*
-Poe was born in Manila on August 20, 1939. After the death of his father,
he dropped out of the University of the East in his sophomore year to
support his family. He was the second of six siblings. He married actress
Susan Roces in a civil ceremony in December 1968.
-The image of the underdog was projected in his films such as Apollo
Robles(1961), Batang Maynila (1962), Mga Alabok sa
Lupa (1967), Batang Matador and Batang Estibador (1969), Ako ang
Katarungan (1974), Tatak ng Alipin(1975), Totoy
Bato (1977), Asedillo (1981), Partida (1985), and Ang Probisyano (1996),
among many others.
-
-The mythical hero, on the other hand, was highlighted in Ang
Alamat (1972), Ang Pagbabalik ng Lawin(1975) including
his Panday series (1980, 1981, 1982, 1984) and the action adventure films
adapted from komiks materials such as Ang Kampana sa Santa
Quiteria(1971), Santo Domingo (1972), and Alupihang Dagat(1975),
among others.

-He died on December 14, 2004

 National Artist for Cinema (1982)
(September 12, 1913 – July 25, 1981)
-Gerardo “Gerry” De Leon, film director, belongs to the Ilagan clan and
as such grew up in an atmosphere rich in theater. Significantly, De Leon’s
first job — while in still in high school — was as a piano player at Cine
Moderno in Quiapo playing the musical accompaniment to the silent
films that were being shown at that time.
-The silent movies served as De Leon’s “very good” training ground
because the pictures told the story.
-Though he finished medicine, his practice did not last long because he
found himself “too compassionate” to be one, this aside from the lure of
the movies.
-His first directorial job was “Ama’t Anak” in which he directed himself and
his brother Tito Arevalo.
-The movie got good reviews. De Leon’s biggest pre-war hit was “Ang
Maestra” which starred Rogelio de la Rosa and Rosa del Rosario with the
still unknown Eddie Romero as writer.
-In the 50s and 60s, he produced many films that are now considered
classics including “Daigdig ng Mga Api,” “Noli Me Tangere,” “El
Filibusterismo,” and “Sisa.” Among a long list of films are “Sawa sa
Lumang Simboryo,” “Dyesebel,” “The Gold Bikini,” “Banaue,” “The Brides
of Blood Island.”.
National Artist for Cinema (2003)
(July 7, 1924 – May 28, 2013)
-Eddie Romero, is a screenwriter, film director and producer, is the
quintessential Filipino filmmaker whose life is devoted to the art and
commerce of cinema spanning three generations of filmmakers.
-Eddie Romero, is a screenwriter, film director and producer, is the
quintessential Filipino filmmaker whose life is devoted to the art and
commerce of cinema spanning three generations of filmmakers.
-“Aguila” situates a family’s story against the backdrop of the country’s
history.
-Kamakalawa” explores the folkloric of prehistoric Philippines.
-“Banta ng Kahapon,” his ‘small’ political film, is set against the turmoil of
the late 1960s, tracing the connection of the underworld to the corrupt
halls of politics.
-His 13-part series of “Noli Me Tangere” brings the national hero’s
polemic novel to a new generation of viewers.