 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.